rhythms and beyond

Rhythms and Beyond

B Y T I M O T H Y L O E S TA N D T I M O T H Y W I M E R

R H Y T H M S A N D B E Y O N D2 1 L e s s o n s i n R h y t h m S k i l l D e v e l o p m e n t f o r A l l M u s i c i a n s

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Rhythms and Beyond21 Lessons in Rhythm Skill Development for All Musicians

Dear Music Educator,

Learning to sing or play an instrument is exciting and rewarding.Because of the infinite number of concepts and skills that musiciansmust master, it is often necessary to utilize supplementary materialsthat focus on a specific element of music.

Rhythms and Beyond: 21 Lessons in Rhythm Skill Development forAll Musicians was written to help students understand fundamentalrhythmic concepts while mastering important counting skills.Through 21 sequential lessons, students learn how rhythms areconstructed, counted, and played. Most importantly, they discoverhow to read and perform notated rhythms at sight.

We invite you to take a few moments to learn more about thisinnovative sequencing of rhythm-based lessons and exercises.Whether your classes meet daily or just once per week, you willexperience significant results.

Sincerely,

Frank HackinsonPresidentThe FJH Music Company Inc.



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©2003 The FJH Music Company Inc.All rights reserved. The music contained herein cannot be reproduced without explicit, written permission from FJH.

4

4œ œ œ œ œ œ

1_ +_ 2_ + 3_ +_ 4_ +

œ œ œ ˙

1_ +_ 2_ + 3_ + 4 +

4

4jœ jœ jœ jœ jœ jœ jœ jœ

4

4œ œ œ œ œ œ œ œ

1_ +_ 2_ +_ 3_ +_ 4_ +_

œ œ œ œ œ œ œ œ

1_ +_ 2_ +_ 3_ +_ 4_ +_

= downbeat

= upbeat + = "and"

4

4 ..œ œ œ œ

1_ + 2_ + 3_ + 4_ +


1_ +_ 2_ +_ 3_ +_ 4_ +_

œ œ œ œ

1_ + 2_ + 3_ + 4_ +

˙ ˙

1_ + 2 + 3_ + 4 +

4

4 ..œ œ œ œ œ œ œ œ

_ _ _ _ _ _ _ _

œ œ œ œ

_ + _ + _ + _ +


_ _ _ _ _ _ _ _

œ œ ˙

_ + _ + _ + 4 +

4

4 ..œ œ œ œ œ œ

1_ + 2_ +_ 3_ + 4_ +_

œ œ œ œ œ œ

1_ + 2_ + 3_ +_ 4_ +_

œ œ œ œ œ œ

1_ + 2_ +_ 3_ + 4_ +_

œ œ œ œ ˙

1_ +_ 2_ +_ 3_ + 4 +

4


_ _ _ + _ _ _ +

œ œ œ œ œ œ

_ _ _ _ _ + _ +

œ œ œ ˙

_ + _ _ _ + 4 +

œ œ œ œ ˙

_ _ _ _ _ + 4 +

c ..˙ œ œ œ

1_ + 2 + 3_ +_ 4_ +

˙ œ œ œ

1_ + 2 + 3_ +_ 4_ +


1_ +_ 2_ +_ 3_ +_ 4_ +_

œ œ œ œ œ œ

1_ + 2_ +_ 3_ + 4_ +_

Lesson 3Eighth Notes

Eighth NoteThe eighth note receives one-half beat in ®√ time, so eight of them can fit into each measure.

Individual eighth notes have flags attached to their stems.

Repeated Eighth NotesRepeated eighth notes are beamed together in groups of two or four. The notes with

upward arrows are known as upbeats. Each upbeat is marked “+” and is counted “and.”

Eighth-Note SubdivisionWhen a measure or phrase contains eighth notes, it is helpful to think downbeat and

upbeat counts for each beat. This counting technique is called eighth-note subdivision.

When subdividing, remember that each beat contains a built-in “+” count.

Note: In the above example, subdivided counts appear in boxes.

Lesson 3 ExercisesTip: Think eighth-note subdivision.

BB207

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Rhythms and Beyond is ideal for all musicians,instrumentalists and vocalists alike. Through 21innovative lessons, students will develop a completeunderstanding of how rhythms are constructed,counted, and played.

Beginning with whole notes and progressing througheighth note / sixteenth note patterns, triplets, andvarious meters and concepts, Rhythms and Beyondgives students the rhythmic skills needed to readrhythms at sight.

Features include• Easy-to-understand explanations that are reinforced with graphics• Logical and progressive skill development exercises• Studies in ®√ , ∑√ , ´√ , ¥≤ , and cut time meters• Lessons on tied notes, dotted notes, syncopation, and triplets• A traditional and consistent counting system shown below notes• Special activity assessments to measure student progress and understanding• A glossary of terms, signs, and symbols for quick reference

1

21 Lessons in Rhythm Skill Developmentfor All Musicians

The FJH Music Company Inc.

Table of ContentsLesson 1 – Whole, Half, and Quarter Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Lesson 2 – Whole, Half, and Quarter Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Lesson 3 – Eighth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Lesson 4 – Eighth Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Lesson 5 – Tied Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Lesson 6 – Dotted Half Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Lesson 7 – Dotted Quarter Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Lesson 8 – Syncopation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Lesson 9 – Sixteenth Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Lesson 10 – Eighth Note / Two Sixteenth Note Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Lesson 11 – Two Sixteenth Note / Eighth Note Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Lesson 12 – Sixteenth Note / Eighth Note / Sixteenth Note Group . . . . . . . . . . . . . . . . . . . 21

Lesson 13 – Dotted Eighth Note / Sixteenth Note Group . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Lesson 14 – Sixteenth Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Lesson 15 – Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Lesson 16 – ∑√ Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Lesson 17 – ´√ Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Lesson 18 – Cut Time (Alla Breve) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Lesson 19 – Cut Time Syncopation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Lesson 20 – Slow ¥≤ Time (in six) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Lesson 21 – Fast ¥≤ Time (in two) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Special Activity Answer Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Quick Reference Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Clear explanations aregraphically reinforced

Eighth-note subdivisionis included

Counting method isshown below notes

Students areengaged withwriting and

countingactivities

Each lesson contains 10 to 20developmental exercises

Students develop a solid understanding of rhythm as they progress through logicallysequenced lessons and exercises. Studies cover whole, half, quarter, eighth, and sixteenthnotes, as well as their corresponding rests. Common eighth / sixteenth note patterns andtriplets are also included.

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Logical, Comprehensive Studies forNote and Rest Values


4

4 ..œ œ œ œ

1_ 2_ 3_ 4_

w

1_ 2 3 4

˙ ˙

1_ 2 3_ 4

w

1_ 2 3 4

c ..œ œ ˙

1_ 2_ 3_ 4

œ œ ˙

1_ 2_ 3_ 4

œ œ œ œ

1_ 2_ 3_ 4_

w

1_ 2 3 4

4

4 ..˙ œ œ

_ 2 _ _

˙ œ œ

_ 2 _ _

˙ ˙

_ 2 _ 4

w

_ 2 3 4

c ..œ ˙ œ

_ _ 3 _

œ ˙ œ

_ _ 3 _

˙ ˙

_ 2 _ 4

w

_ 2 3 4

Note: In this book, the pencil icon reminds you to write in the counts on the lines provided.

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Whole, Half, and Quarter Notes

4

4‰ jœ ‰ jœ ‰ jœ ‰ jœ

(1) +_ (2) +_ (3) +_ (4) +_

4

4‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰

(1) (+) (2) (+) (3) (+) (4) (+)

= downbeat

= upbeat

4

4jœ ‰ jœ ‰ jœ ‰ jœ ‰

1_ (+) 2_ (+) 3_ (+) 4_ (+)

4


1_ +_ 2_ +_ 3_ +_ 4_ +_

jœ ‰ jœ ‰ jœ ‰ jœ ‰

1_ (+) 2_ (+) 3_ (+) 4_ (+)


1_ +_ 2_ +_ 3_ +_ 4_ +_

jœ ‰ jœ ‰ jœ ‰ jœ ‰

1_ (+) 2_ (+) 3_ (+) 4_ (+)

4


1_ +_ 2_ +_ 3_ +_ 4_ +_

‰ jœ ‰ jœ ‰ jœ ‰ jœ

(1) +_ (2) +_ (3) +_ (4) +_


1_ +_ 2_ +_ 3_ +_ 4_ +_

‰ jœ ‰ jœ ‰ jœ ‰ jœ

(1) +_ (2) +_ (3) +_ (4) +_

Lesson 4Eighth Rests

Eighth RestThe eighth rest receives one-half beat in ®√ time, so eight of them can fit into each measure.

Eighth Rests on DownbeatsEighth rests can replace downbeat eighth notes.

Eighth Rests on UpbeatsEighth rests can replace upbeat eighth notes.

Lesson 4 ExercisesTip: Think eighth-note subdivision.

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2

Eighth Rests

4

4≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈

(1)(e)(+)(a) (2)(e)(+)(a)(3)(e)(+)(a) (4)(e)(+)(a)

= downbeat= upbeat

4

4 ..œ œ ≈œ œ œ œ œ ≈œ œ œ

1_ +_ (2) e_ +_ a_ 3_ +_ (4) e_ +_ a_

œ œ œ œ ≈œ œ œ ≈œ œ œ

1_ +_ 2_ +_ (3) e_ +_ a_ (4) e_ +_ a_

œ œ ≈œ œ œ œ œ ≈œ œ œ

1_ +_ (2) e_ +_ a_ 3_ +_ (4) e_ +_ a_

œ œ œ œ œ œ œ Œ

1_ +_ 2_ e_ +_ a_ 3_ + (4 +)

c ..œœœœ≈œœœœœœœ≈œœœ

_ _ _ _(2)_ _ _ _ _ _ _(4)_ _ _

œœœœœœœœ≈œœœ≈œœœ

_ _ _ _ _ _ _ _(3)_ _ _(4)_ _ _

œœœœ≈œœœœœœœ≈œœœ

_ _ _ _(2)_ _ _ _ _ _ _(4)_ _ _

œ œ œ œ œ œ œ œ ˙

_ _ _ _ _ _ _ _ _ + 4 +

4

4 ..œ ≈œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ ≈œ œ œ œ ≈ œ œ œ œ œ ≈œ œ œ œ

Lesson 14Sixteenth Rests

Sixteenth RestThe sixteenth rest receives one-fourth beat in ®√ time, so sixteen of them can fit into

each measure.

Sixteenth Note / Sixteenth Rest GroupsA sixteenth rest can replace any sixteenth note in a group of four to create a variety of six-

teenth note / sixteenth rest groups.

Group 1 Group 2 Group 3 Group 4 Group 5

Exercises 1–3 Exercises 4–6 Exercises 7–9 Exercises 10–12 Exercises 13–15

Lesson 14 ExercisesTip: Think eighth-note subdivision for notes and rests receiving one or more beats.

Group 1

œ œ œ œ

(1) e_ +_ a_

≈ œ œ œ

(1) e_ +_ a_

œ œ œ œ

1_ (e) +_ a_

œ ≈ œ œ

1_ (e) +_ a_

œ œ œ œ

1_ e_ (+) a_

œ œ ≈ œ

1_ e_ (+) a_

œ œ œ œ

1_ e_ +_ (a)

œ œ œ ≈

1_ e_ +_ (a)

œ œ œ œ

1_ (e) (+) a_

œ ≈ ≈ œ

1_ (e) (+) a_

1

2

3

Sixteenth Rests

Common note groupings areexplained and applied

œ œ œ œ

1_ e +_ a_

œ œ œ

1_ +_ a_

œ œ œ

1 +_ a_

‰ œ œ

(1) +_ a_

4

4 ..œ œ œ œ œ œ œ œ œ œ

1_ +_ 2_ +_ a_ 3_ +_ 4_ +_ a_

œ œ œ œ œ œ œ œ œ œ

1_ +_ 2_ +_ 3_ +_ a_ 4_ +_ a_


1_ +_ 2_ +_ a_ 3_ +_ 4_ +_ a_

œ œ œ œ œ œ ˙

1_ +_ 2_ e_ +_ a_ 3_ + 4 +

4

4 ..œ œ œ œ œ œ œ œ œ œ œ œ œ œ

1_ e_ +_ a_ 2_ +_ a_ 3_ e_ +_ a_ 4_ +_ a_

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

1_ e_ +_ a_ 2_ e_ +_ a_ 3_ +_ a_ 4_ +_ a_

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

1_ e_ +_ a_ 2_ +_ a_ 3_ e_ +_ a_ 4_ +_ a_

œœœ œœœ œœ ˙

1_ e_ +_ a_ 2_ e_ +_ a_ 3_ + 4 +

4

4 ..œ œ œ œ œ œ œ œ œ œ œ

_ _ _ _ _ _ _ _ _ _ _


_ _ _ _ _ _ _ _ _ _ +


_ _ _ _ _ _ _ _ _ _

œ œ œ œ œ œ œ ˙

_ _ _ _ _ _ _ _ + 4 +

Lesson 10Eighth Note / Two Sixteenth Note Group

Eighth Note / Two Sixteenth Note GroupAn eighth note can replace the first two sixteenth notes in a group of four sixteenth notes.

This creates an eighth note / two sixteenth note group.

Eighth Rest / Two Sixteenth Note GroupAn eighth rest can replace the eighth note to create an eighth rest / two sixteenth

note group.

Lesson 10 ExercisesTip: Think eighth-note subdivision for notes and rests receiving one or more beats.

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2

3


Eighth Note / Two Sixteenth Note Group

Graphics make conceptseasier to understand

Previously learned concepts arecombined with new concepts

œ œ ˙ œ œ œ˙ ˙ w

4

4 ..

_

w

1 2 3 4 _

˙ ˙

1 2 3 4 _

w

1 2 3 4 _

œ œ œ œ

1 2 3 4

4

4 ..

_

˙ ˙

1 2 3 4 _ _

œ œ œ œ

1 2 3 4 _ _

˙ ˙

1 2 3 4 _ _

œ œ œ œ

1 2 3 4

4

4 ..˙ ˙

_ 2 3 4

Ó œ œ

(1 2) _ 4

Ó ˙

(1 2) _ 4

˙ œ Œ

_ 2 3 (4)

TieA tie combines the value of two or more notes. Attack only the first note in a tie.

Lesson 5 ExercisesTip: It is not necessary to think eighth-note subdivision for exercises 1–5.

1

2

3

= = =

3

Studies for a Variety of Meters andRhythmic Concepts


4


>

œ œ

1_ +_ 2_ +_ 3_ +_ 4 +_

œ œ œ œ jœ œ

>

jœ

1_ +_ 2_ +_ 3_ +_ 4 +_

œ œ jœ œ

>

jœ

1_ + 2_ + 3_ +_ 4 +_

œ œ

>

œ œ ˙

1_ +_ 2 +_ 3_ + 4 +

4

4 ..œ œ

>

œ œ œ œ

>

œ œ

1_ +_ 2 +_ 3_ +_ 4 +_

jœ œ

>

jœ jœ œ

>

jœ

1_ +_ 2 +_ 3_ +_ 4 +_

œ œ

>

œ œ œ œ

>

œ œ

1_ +_ 2 +_ 3_ +_ 4 +_

œ œ œ Œ

1_ + 2_ + 3_ + (4 +)

4

4 ..jœ œ

>

jœ jœ œ

>

jœ

_ _ 2 _ _ _ 4 _

œ ˙

>

œ

_ + _ + 3 + _ +

œ œ

>

œ œ œ œ

>

œ œ

_ _ 2 _ _ _ 4 _

œ œ

>

œ Œ

_ + _ + 3 + (4 +)

4

4 ..jœ œ

>

jœ œ Œ jœ œ

>

jœ œ Œ jœ œ

>

jœ jœ œ

>

jœ œ Œ œ Œ

4

4 ..œ œ

>

œ œ

>

œ œ Œ jœ œ

>

œ

>

jœ Œ jœ œ

>

jœ jœ œ

>

jœ œ œ

>

œ œ

4

5

6

7

8

In addition to common time, Rhythms and Beyond includes lessons for ∑√ , ´√ , ¥≤ (slow and fast),and cut time. By providing clear explanations and practical exercises, this book helpsprepare students to play a broader range of literature, particularly in ¥≤ and cut time.

Rhythms and Beyond also includes lessons on tied notes, dotted notes, syncopation, cut timesyncopation, and triplets. Students go beyond a basic understanding of rhythm whileexploring these concepts.

w or Ó in C = 2 beats

h or Ó in C = 1 beat

q or Œ in C = 1/2 beat

e or ‰ in C = 1/4 beat

C ..w

1_ + 2 +

˙ ˙

1_ + 2_ +

œ œ œ œ

1_ +_ 2_ +_

˙ ˙

1_ + 2_ +

4

2 ..˙

1_ + 2 +

œ œ

1_ + 2_ +

œ œ œ œ

1_ +_ 2_ +_

œ œ

1_ + 2_ +

C ..˙ ˙

1_ + 2_ +

œ œ œ œ

1_ +_ 2_ +_

Ó ˙

(1 +) 2_ +

œ œ ˙

1_ +_ 2_ +

2

2 ..˙ œ œ

_ + _ _

˙ œ œ

_ + _ _

Ó ˙

(1 +) _ +

w

_ + 2 +

Written as...

Sounds like...

Lesson 18Cut Time (Alla Breve)

Cut Time (Alla Breve) Time SignaturesCut time is indicated by two time signatures, @ or ∑≈ .

Note and Rest Values in Cut TimeIn cut time, note and rest values are cut in half, giving the tempo a “double-time” feel.

Lesson 18 ExercisesTip: Although note and rest values are cut in half in cut time,

you should continue to subdivide each beat.

Note: Exercises 1, 4, 7, 10, and 13 have been notated twice to show

the relationship between cut time and ∑√ time.

1

2

3

Cut Time

c .

_

œ œ

_

œ œ

_

œ œ

1 + 2 + 3 + 4 + _

œ œ

_

œ œ

_

œ Œ

1 + 2 + 3 + (4 +) _

œ

_

œ œ

_

œ

1 + 2 + 3 + 4 +

œ Œ

_

œ Œ

1 + (2 +) 3 + (4 +)

4

4 ..œ œ œ œ Œ

_ _ 2 + _ + (4 +)

œ œ œ œ œ Œ

_ _ 2 _ 3 + (4 +)

œ ˙ œ

_ + _ + 3 + _ +

œ œ œ œ Œ

_ _ 2 + _ + (4 +)

4


_ + 2 _ _ + 4 _

œ Œ œ œ œ

_ + (2 +) _ _ 4 +

œ œ œ œ œ œ

_ + 2 _ _ + 4 _

‰ jœ ‰ jœ œ Œ

(1) _ (2) _ _ + (4 +)

4

4 ..œ œ œ œ œ œ ‰ jœ ‰ jœ ‰ jœ œ œ œ œ œ œ œ œ œ œ ‰ jœ œ œ

7

8

9

10

8


segment 1

1_ is_ a_ 2_ is_ a_

œ œ œ œ œ œ

1_ is a 2_ is a

.œ .œ

segment 2

1_ is a 2_ is a

œ œ œ .œ

1_ is_ a_ 2_ is a

8


1_ is_ a_ 2_ is_ a_

œ œ œ œ œ œ

1_ is a 2 is a

.˙

segment 3

1_ is a 2 is a

.œ .œ

1_ is a 2_ is a

Segment 1 Segment 2 Segment 3 Segment 4 Segment 5

œ œ œ

œ œ œ

1_ is_ a_

œ œ œ

.œ

1_ is a

œ œ œ

œ jœ

1_ is a_

œ œ œ

jœ œ

1_ is_ a

œ œ œ œ œ œ

.˙

1_ is a 2 is a

q . e or Q

>

in fast ¥≤ time = 1 beat

Q

or E

in fast ¥≤ time = 1/3 beat

Common Rhythmic Segments in Fast ¥≤ TimeThere are five common rhythmic segments in fast ¥≤ time. Segments 1, 2, 4, and 5 can be

combined to create one-measure rhythmic units.

Lesson 21 ExercisesTip: Think eighth–note subdivision for quarter, dotted quarter, and dotted half notes

and rests. In fast ¥≤ time, the eighth note receives one-third beat.

Bonus Tip: Look for each rhythmic segment as you play.

1

2

8


1_ 2_ 3_ 4_ 5_ 6_

œ œ œ œ œ œ

1_ 2 3 4_ 5 6

.œ .œ

1_ 2 3 4_ 5 6

œ œ œ .œ

1_ 2_ 3_ 4_ 5 6

8


1_ 2_ 3_ 4_ 5_ 6_

œ œ œ œ œ œ

1_ 2 3 4 5 6

.˙

1_ 2 3 4 5 6

.œ .œ

1_ 2 3 4_ 5 6

8

6 ..

.œ .œ

_ 2 3 _ 5 6

œ œ œ œ œ œ

_ _ _ _ _ _

.œ .œ

_ 2 3 _ 5 6

.˙

_ 2 3 4 5 6

Lesson 20Slow

¥≤

Time (in six)

Slow ¥≤ Time (in six)There are six beats per measure in slow ¥≤ time and the eighth note receives one beat.

Note and Rest Values in Slow ¥≤ TimeThere are four common note and rest values in slow ¥≤ time.

Lesson 20 ExercisesTip: Think eighth–note subdivision for quarter, dotted quarter, and half notes and rests.

In slow ¥≤ time, however, the eighth note receives one beat.

h .

q .

q

e

or H

>

in ¥≤ time = 6 beats

or Q

>


or Q


or E

in ¥≤ time = 1 beat

1

2

3

Slow ¥≤

Tied Notes

Fast ¥≤

Syncopation

4

4œ œ œ œ œ œ œ œ œ œ œ œ .œ jœ ˙

œ œ œ œ œ œ œ œ œ œ œ œ .œ jœ ˙

MYSTERY RHYTHMThe following rhythm is from a famous Beethoven symphony. Play the rhythm and see

if you can identify the melody. Once you solve the mystery, choose a starting pitch and

try to play the melody by ear.

RHYTHM REVIEWMatch each note and rest with its correct definition in ∑≈ time.

1. _____ a note that gets one beat A. whole note w

2. _____ a rest that gets two beats B. half note h

3. _____ a rest that gets one beat C. quarter note q

4. _____ a rest that gets one-half beat D. eighth note e

5. _____ a note that gets two beats E. whole restW

6. _____ a note that gets one-half beat F. half restH

7. _____ a rest that gets one-fourth beat G. quarter rest Q

8. _____ a note that gets one-fourth beat H. eighth rest E

For More PracticeReturn to Lesson 1 and try counting, clapping, and playing each exercise in cut time.

Once you have mastered Lesson 1, try Lessons 2–4 in cut time.

Rhythms and Beyond includes a wealth of special activities that are designed as assessments.Students have fun and teachers gather important information about the students’ progress.These activities engage students and reinforce important concepts. Activities includeMystery Rhythm, Rhythm Review, Music Math, and Baffling Barlines. These are quick andenjoyable games that restate key concepts.

4

Special Activity Assessments


Writing and countingactivities are includedthroughout each lesson

4

q

+ q

+ h

e

+ e

+ h

e

+ e

+ q

+ h

Œ

+ q

+ Œ

e

+ ‰

+ Œ

+ h

(1)

(2)

(1)

MUSIC MATHAdd up the note and rest values in each column.

Answer:

BAFFLING BARLINESSeparate the notes and rests into measures by drawing barlines in the correct places.

The first measure of each line has been started for you.

Tip: This is a horizontal Music Math activity!

4

4.œ œ œ œ œ œ .œ œ œ œ .œ œ Œ Ó œœ œœ .œ œ œœ œœ .œ œ œœ œœ Œ

c œ œ .œ œ œ œ œœ œœ .œ œ .œ œ .œ œ .œ œ œœœ œ .œ œ Œ œ Œ œœœ œ Œ ‰ jœ

4

4œ ‰ jœ œ ‰ jœ œ œ œ œœ œ ‰ jœ

.œ œ œœœ œ .œ œ jœ ‰ jœ ‰ jœ ‰ jœ ‰ .œ œ Œ

a

b

c

About the authors:

Timothy Loest's career as a middle school band director spansnearly 20 years. He is currently Director of Bands at F.E. Peacock

Middle School in Itasca, Illinois, a suburb of Chicago. Mr. Loest alsoteaches fifth grade beginners at Franzen Intermediate School.

Tim received his Bachelor of Music Education degree, Magna CumLaude, from Illinois State University and a Master of Music Educationdegree from Northwestern University where he studied under PeterWebster, Donald Casey, and Bennett Reimer. While at Northwestern,he received an Eckstein Scholarship, as well as the School of Music'smost prestigious graduate award, the Program Honors Award.

A frequently commissioned composer and guest conductor, Mr. Loestis also an exclusive writer for The FJH Music Company. His works forelementary and middle school bands have been performed in over

twenty-five countries, including Australia, France, Germany, Great Britain, Italy, Jamaica,Japan, South Africa, Spain, Switzerland and the United States. He is an ASCAP awardwinning composer and his compositions and arrangements have provided music fornumerous American network and cable television programs.

Timothy Loest is an advocate of the arts and holds membership in the Music EducatorsNational Conference (MENC), the Illinois Music Educators Association (IMEA), the IllinoisGrade School Music Association (IGSMA), the American Society of Composers, Authors andPublishers (ASCAP), and the Christian Educators Association International (CEAI).

Tim Wimer has written over twenty publications for youngpercussionists. His method books, instructional videos, and

percussion ensembles can be found in the United States, Canada,Europe, and Japan. In addition, Tim is an active artist and clinician,having participated in hundreds of concerts and workshops atelementary, middle, and high schools throughout the country. He is acommissioned composer and arranger for concert and marchingpercussion.

From 1986–1989, Tim served as a paratrooper and musician in the82nd Airbourne Division Band at Fort Bragg, North Carolina. In 1994,he earned an English degree from Roanoke College in Roanoke,Virginia. He currently teaches percussion and English at LordBotetourt High School in Daleville, Virginia, and is actively involvedin numerous music programs in the area.

Warm-ups and BeyondA Comprehensive Rehearsal Book for Developing Bands

B Y T I M O T H Y L O E S T with Percussion by Kevin Lepper

• Basic and Advanced Warm-ups including

ScalesArpeggiosInterval StudiesChord ProgressionsChorales

• Key Change Studies

Another outstanding educational publication in this serieAnother outstanding educational publication in this seriess .. .. ..

For additional information on this or other FJH publications, please contact your local dealer.If you are having trouble finding any of our publications, call us at 800-262-8744 and we’llgladly help locate the dealer nearest you.

Visit us on the internet at www.fjhmusic.com

• Articulation Studies

• Flexibility Studies

• Glossary of Musical Terms, Symbols, and Signs

• Appendices containing Scale SheetsTuning NotesFingering Charts

• Percussion Features and Exercises emphasizing

Sticking SystemsBasic RudimentsPlaying Techniques for

Accessory Instruments

• Appropriate for use with ALL music students

• Note and Rest StudiesWhole, Half, and Quarter Notes

and Rests Eighth and Sixteenth Notes,

Rests, and Combinations

• Meter Studies®√ , ∑√ , ´√ , ∑≈ (cut time),

and ¥≤ (slow and fast)

Rhythms and BeyondRhythms and Beyond21 Lessons in Rhythm Skill Development for All Musicians

RB 4-04

BB203Conducter Score $24.95All Parts $4.95

BB207 $4.95



Œ

‰

‰

≈≈

4

4

2

4

6

8

3

4

®

®

≈Ó

Ó

Ó

Œ

• Advanced Studies Tied NotesDotted NotesSyncopation (common time and cut time)Triplets

• Special Activities and AssessmentsExercises that are fun for studentsReinforce previously learned conceptsActivities include:

Mystery RhythmsRhythm ReviewsMusic MathBaffling Barlines

rhythms and beyond

Documents