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45

Go for a walk. Count each step, in twos or fours. Tread heavier on the ones. One two One two One two One two One two three four One two three four They feel different, don't they? This is the difference. And yet there is an equivalence between them. Walk at the same tempo, but count to four twice as fast, so you're stepping on the One and the three. One ...


18

The other answers are all essentially correct, but I think a critical point is missing. There aren't just fully "strong" and fully "weak" beats; there are also beats of medium strength (and other varieties). 4/4 is most commonly emphasized like this: ONE two three four Note the half-accent on the third beat, different from what slim mentioned. If ...


16

"Crotchet" is the British term for quarter note. A "Minim" is a half note and a "quaver" is an eighth note. 3/4 is a time signature. More specifically, it is simple, triple time. The top number in this time signature indicates that there are three beats in each measure. The bottom number (below the slash) means that one beat is defined as a quarter note, ...


13

Counting is an absolutely necessary step when learning a new piece.It is the rhythmic framework of any piece. Without it, you may well be playing a different tune. 'All the right notes, but not in the right timing'. You ask 'do they count all the time?' Well there's no need once a piece is well known to the player. We sound out words as kids, but eventually ...


12

Several things. First and foremost -- I cannot stress this enough -- we express ourselves in the idioms of the music we listen to. If you want to start having more rhythmically interesting inspirations of your own, you need to be filling your ears with rhythmically interesting music. If you're not already doing this, start compiling collections of music ...


11

1 2 3, 1 2 3, 1 2 is Calypso rhythm. Although it appears it often has a 4/4 or 8/8 time signature, I have seen it 3+3+2/8. Even with a more regular time signature, you may find it notated with two dotted-crotchets (which shouldn't cross over the secondary beat on to the third crotchet) and a dotted bar-line before the fourth crotchet.


9

It is sometimes referred to as a dotted rhythm because the first four notes are all dotted eighth notes. I think it is popular because it's a very easy way to disrupt the normal pulse. Basically, what you are doing is overlaying a pulse that is different from the regular pulse. It works very well as a fill between sections for this same reason. If it ...


9

As you beginner, I strongly suggest you keep doing that. What I did when I first begun, was to count everything with my foot. After a while, I didn't really need to count every single thing with the foot, because I could hear/feel it in me. So, no, I don't think pro musicians count every little thing, but they can if you ask them to. Is counting the ...


8

Like everyone else, I would strongly suggest investing in a metronome to keep a consistent beat. In addition, practice counting along with what you are playing. When it comes down to it, though, being able to count a consistent quarter-note (for example) is only a part of the problem, and using a metronome set to the quarter-note will really only ensure ...


8

If a computer plays them, they are the same. However, it may influence how a human player interprets it, even if they don't know anything about what it meant historically, because all those extra beams will make the score look thicker, less spacious, and the notes seem to be more connected. A good player should be able to find a working interpretation ...


7

2/4 is isomorphic to cut time, and as the article excerpt states, they idiomatic french horn rhythm would occur on both of the upbeats in the measure. In other words, the second and fourth eighth notes of a 2/4 bar.


7

It also has to do with strong and weak beats. In 2/4, everyother beat (the one in each measure) is a strong down beat. In 4/4, every fourth beat (the one in each measure) is a strong down beat. It is all about accents and feel, so there is a major difference.


7

I'm going to aim for simple and scientific here, though I will say melody is far more than I can write here or in any book. There's a minor misunderstanding here, because Melody is the combination of line and rhythm. (and arguably harmony also) The 3 concepts to concern yourself with in a Melody are Line, Rhythm and Harmony Let's remove/ignore harmony to ...


7

When I studied music composition, one of our basic exercises was to compose rhythms without melody. This forces you to develop rhythms that are interesting in their own right. You can then develop the rhythms into melodies, or you can perform them on percussion or by scat singing. Or you can simply use it as an exercise to train your rhythmic composition ...


7

This is much like: when you drive a car, do you think about the steering all the time? When you learn to drive, you will be consciously thinking about your steering. Similarly, an experienced driver on an unfamiliar road will be consciously thinking about it. An experienced driver on a familiar road will probably not be consciously considering their ...


6

I think they're usually referring to the style of drumming - listen to the first minute of Police - Every breath you take, for instance. The snare drum comes on beats 2 and 4, and you'll find this in lots of pop/rock etc. Reggae is also a clear example of putting rhythm on beats 2 and 4. You're also right in that most simple chord changes occur at the start ...


6

As far as I know, the experts say this all has to do with psychology, sensory perception and cognition, and not physiology. This is a question about the intersection of psychology and music, and even the discipline known as "music therapy". There has been a lot of research done on this sort of thing in recent years and a lot of books published on it, but ...


6

I think the progression of 2&4 accents in Western (American) popular music probably starts with Swing, Jazz, Big Band where the drummers emphasized these beats and played 2 & 4 with the High Hat. Next I think this moved over to the snare drum in very early Rock n' Roll and Blues. Once it was on the snare drum, virtually all styles of American ...


5

Well, the tiny hairlike structures in your cochlea transmit impulses through the vestibocochlear cranial nerve to your cerebral cortex, then some stuff happens that we don't fully understand yet, but you experience it as sound and link it emotionally to similar experiences in your past. The only real exception I can think of is if the music you are listening ...


5

I don't play drums but I had a similar experience when I was learning electric guitar. I'm a bit confused about what you imply when you say 'failed' but I'm assuming you mean you just couldn't come up with original, engaging ideas. The truth is, there is no real originality when it comes to music. We can be pretty certain the most good drum lines have been ...


5

If you are playing a song that has four beats in a bar (it's in 4/4 time), you can easily strum on each beat of the bar with a down-strum. By using only down-strums you can play steadily, with an even volume. If you want to play twice as fast (in other words, play eight strums per bar), you can play in between the beats with an up-strum. Your right-hand ...


5

Mark Butler has written a scholarly book on Electronic Dance Music called Unlocking the Groove. In it, he proposes calling these moments "turning the beat around", and abbreviated it TBA. As in, "After an introduction that implies a straight 4/4 pattern, a TBA reveals that it has been syncopated all along." Personally, I think it's an unfortunate term, but ...


5

There are several different kinds of stress in music. Meter (lyrical) is the stress added by accents (real or implied) in the lyric. It's important to remember that meter, as it was used in writing, actually gave rhythmic form to both poetry and prose. In the case of music, the lyric may not always be delivered in a way which stresses its own meter. In one ...


5

If you have trouble with counting meter, you might want to try a rhythm solfege method like Takadimi or the Kodaly Method. I played with an Indian tabla player for a couple of years and found tabla rhthym solfege to be superior to the Western "1-e-and-a" counting for me in performance, possibly because I block on numbers (can't remember phone numbers) but ...


5

They exist. You may not know where to look for them. Odd-time signatures (rhythms in 5, 7, 11, 13, etc.) are common in certain cultures. Odd-time signature songs and dances can be readily found in folk music from places like Greece, Bulgaria, and Turkey, and other nations in that geographic region, going back to antiquity. The use of odd-time meters and ...


5

No, the tempo doesn't change based on the time signature. Time signature and tempo are two different things. Time signatures tell you how many beats there are in a measure and how a beat is notated (4/4 = four beats in a measure of quarter notes). A tempo (BPM) tells you how fast that beat goes by (120 BPM = 1 beat per 0.5 second). 4/8 means you have ...


4

If your song is at 83bpm then seeing your metronome at 83bpm will mean you have the right tempo. What I think your question is getting at is starting correctly on the beat, correct? If so, the usual process is to have your metronome started first so you can come in correctly, for example you could let it run for for bars and then jump inti the fifth bar. ...


4

The drumloop you hear on the track that you've mentioned is a chopped/edited version of an 'Amen beat'. Find a refill for Reason with a bunch of REX Amenloops and then mess around. It is common to remove the snare drum and the kick drum from the original loop and add your own kick and snare in place. (This is definitely the case in the song you mentioned). ...


4

First of all, you should buy a good metronome. Then practise with the metronome. Start moderately slow and turn it up in small steps. Do this with for some time with different songs/pieces and after a while you will notice that you get better at keeping time. In my experience there are only very few people that are completely "time-deaf".



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