Learn How To Read Rhythms

The Rs Of Reading
These are the factors that enable reading skills:
1. Recognition = Recognize each of the Rhythmic Pictures.
2. Recollection = Remembering each of the Rhythmic Sounds.
3. Reaction = Responding correctly to the Rhythmic Sound Pictures.
4. Repetition = Rehearse and repeat rhythms correctly.
5. Retention = Retain and commit rhythms to memory.
6. Reinforcement = Review to stay sharp.
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2010 Pat Petrillo. Unauthorized copying is an infringement of copyright laws. 1

The Mechanics Of Music
The Music Staff
The music staff is used to place all of the notes in position to read.
What Is A Measure?
It is a measurement in music that is equally divided by using bar lines.
Subdividing A Measure
The measure is then divided into subdivisions called beats.
Within a measure, there can be various amounts of beats.
The below example shows four equal beats in the measure:
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

What Is A Time Signature?
A time signature is shown as a 2-part fraction that tells you
how many beats are in a measure, and the basic subdivision.
4 = How many beats per measure

-
4 = What is the subdivision that receives one count.
In this case, it is the quarter note.
In the below example, the time signature is placed

at the beginning of the measure.
44 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
4/4 is also known as Common Time. It can also be marked with a C.
c 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4

Staff Endings
Section Bars
Section bars are double lines that signify the end of a music section.
Double Bars
A double bar is bold and placed at the end of a line of music
to signify the end of a song.

Section Repeat Signs
Repeat Bars
Double bars with two dots next to them, in the 2nd and 3rd spaces of the staff
are called repeat signs. The section between these signs is to be repeated.
Repeating Sections Multiple Times

If a section is to be played more than twice, the number of times
it is to be played is followed by the letter X.
In this example the four bar phrase is to be played four times.
4x

The Essential Rhythm Tree Of Subdivisions
Based 4 beat counting, here is how basic rhythms are subdivided and notated:
Whole
Note
1-2-3-4
1-2 3-4
Half
Note
1 2 3 4
Quarter
Note
1 & 2 & 3 & 4 &
Eighth
Note
1 e & a 2 e & a 3 e & a 4 e & a
Sixteenth
Note
Placing Quarter Notes On The Staff With A Time Signature
4 = 4 beats per measure
In this example there are: -
4 = The quarter note receives one count
count 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Changing The Amount Of Beats Per Measure
By changing the top number, we create new time signatures of varying lengths.
count 1 2 1 2 1 2 1 2
count 1 2 3 1 2 3 1 2 3 1 2 3
count 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

Placing The Rhythm Tree In The Measure
Now put the rhythm tree in the measures with a time signature of 4/4.
44
1-2-3-4 1-2 3-4 1 2 3 4 1 & 2 & 3 & 4 & 1 e & a 2 e & a 3 e & a 4 e & a 1-2-3-4

This concludes the basic mechanics of music notation.
Now lets move on to the reading examples.

Example #1
Whole Notes, Half Notes, and Quarter Notes
44

Example #2
Quarter Notes and Eighth Notes
44

Example #3
Whole Notes, Half Notes, Quarter Notes, and Eighth Notes
44

Example #4
Quarter Notes and Sixteenth Notes
44

Example #5
Using Eighth and Sixteenth Notes
44

Example #6
Using Quarter, Eighth, and Sixteenth Notes, With Repeats
44 ..
..

Example #7
Reading in 2/4 Time Signature
42

Example #8
Reading in 3/4 Time Signature
43

Introducing Rests
Lets start with the Whole, Half, and Quarter note rests.
Here is what each rest looks like as well as its duration:
A Whole Note Rest= 4 Beats
B Half Note Rest= 2 Beats
C Quarter Note Rest= 1 Beat

Rest Practice
Lets put all three rests into musical context
A c ..
B c ..
C c ..

Example #9
Using Quarter, Eighth, and Sixteenth Notes With Half and Quarter Rests
44

How to Read Eighth & Sixteenth Rhythm Combinations
There are 9 different eighth and sixteenth rhythmic combinations.
Once we learn them, we will use the concepts of the Sound Pictures
to memorize how each rhythm sounds and looks.
Sound Picture Rhythms 1 & 2
1 e & a 1 e & a
.. .. .. ..
1 & a 1 e &

Example #10
Sound Picture Rhythm 1 Practice
44

Example #11
Sound Picture Rhythm 1 Combination
44

Example #12
44

Example #13
44

Reading Tips For Eighth & Sixteenth Note Combinations
Now would be a good time to discuss where to look while youre reading.
Q: Where should my eyes focus when reading sixteenth notes?
A: Focus on the top of the bar, not on the note head itself.
The stems of the notes are where the subdivisions are located.
Here is an example using just the top stems of the rhythm.
Practice this exercise to help the eyes

Recognize and Respond to the rhythm.

Example #14
Sound Picture Rhythms 1 and 2 Combination
4
4

Example #15
Combining All Rhythms and Rests Learned So Far
4
4

Introducing Eighth Note Rests
Here is how an eighth note rest looks. It receives the value of one eighth note.
(1) & (2)
A single eighth note has one flag.

Example #16
Quarter Notes and Eighth Notes Using Eighth Note Rests
j j j j
4
4

j j j j j j

j j j j j j j j j j j

j j j j j j j


Example #17
Using Half, Quarter, and Eighth Notes With Rests
j j j j j
4
4
j j j j j j j

j j j

j j j j j

j j j j j j j

j j j j j j j

j j j j j

j j j j j j


Combining Eighth Rests With Sixteenths
Replace an Eighth Note With an Eighth Note Rest
1 & a (2) 1 e & (2)

Example #18
Using Eighth Rest With Quarter, Eighth, and Sixteenth Notes
44
j j j


Example #19
Using All Rhythms and Rests Learned So Far
j j
4
4
j j

j j j

j j

j j j j j j

j j


Example #20
Sixteenth Reading in 3/4 Time
j j
3
4
j j j j

j j j j j

j j j

j j

j j j j j

j j


Introducing Dotted Half And Dotted Quarter Notes
Adding a dot just after a note makes it last longer by one extra subdivision.
If a half note equals 2 quarter notes,

then a dotted half note equals 3 quarter notes.
If a quarter note equals 2 eighth notes,

then a dotted quarter note equals 3 eighth notes.

Example #21
Dotted Half Note Combination
44 . .
j j
. . .

Example #22
Dotted Quarter Note Combination
j j j j j
44
. . . .
j j j j j
. . . .

Example #23
j j j j
44 . . . . .
j j j j j

.
j
. . . .
j j j j j j
. . . .

Introducing Sixteenth Note Rests
Here is how a sixteenth note rest looks.
It receives the value of one sixteenth note, and has a double flag.
(1) e & a (2)

Example #24
Focusing On Sixteenth Note Rests
4
4
j j

j j


Example #25
Using All Rhythms and Rests Learned So Far, With Repeats
j j
4 .. . .
4
j j j
.
. .
j j
.
j j

.

j
.
j j j
.
..

How to Read Dotted Eighth & Sixteenth Rhythms
Sound Picture Rhythms 3, 4, & 5
1st & last 16th Just the last 16th Just the 2nd 16th
1 e & a 1 e & a 1 e & a
r j
.. . .. .. . .. .. . ..
1 a (1) a (1) e

Example #26
44 . . . . . . .
. . . . . . . . .

Example #27
r r r r r r r r
4
4 . . . . . . . .
r r r r r r r r j
. . . . . . . .

Example #28
j j j j j j j j
4
4 .
. . .
.

. .

j j j j j j j j j j
. . . . . . . . .

Example #29
Sound Picture Rhythms 3, 4, and 5 Combination #1
r r j j j j
44 . . . . .
. .
r j r j j
. . . . . .

Example #30
j j r j r j
4 . . . . . .
4
r r j j j j r j
. . .
.
. .
j j r j j j
. . .
. . . .
j j r j r r j
. . . . . .

j j j j r j
. . . . . . . .
j j j j j j r j j
. . . . . . .
r j j r j j j j j
. . . . . . .
r j j j r r r j j
. .
. .
. .
. .


Example #31
j j r j j j j j r j r j
4 . . . . . . . . .
4
j j r r r j
.

. . . . . . . . . .

j r j j j j r r j
. .
. . . . . . . . .
j j j r j r r r j r
. . . . . . . . . . .
r r j j j r j j j
. . . . . . . . . .
j j r j j j r j j j r
. . . . . . . . .
j j r j j r j j j r
. . . . . . . . .
j r j r j j r r j j r
. . .
. . .
. .
. . . .


Example #32
j r r r j j r
4 . . . . . . . .
4
r j j j j r j j j
. . .
.
. . .
.

r j r j j r
. . . . .

. . .
.
j r r j
. . . . . . . .
j r j j j j j j
. . .

. . .
.

j r r j j
. . .

. . . .

j j j j j j
. . . . . .
j r j j j
. . . . . . .

How to Read Eighth & Sixteenth Rhythms

Example #33
44
j
.

Example #34
j j j j
4 . . .
4
j j r j

.
.
.
j j r j

. . .
.
j r j r j r r r j
. .

. . .

. .
.
.
r j r
. . . . .
r j
. .
r r r j j
. . . . . . . .
j j r j r j
.
.
. . .


Example #35
j
44


Example #36
j j j j
4 . . .
4
j r r j j j

. . . . .

j r j j
. . . .

j j j r j
. . . . .
r j r
. . . .
r j r j j j
. . . .
r r r r r
. . . . . .
j r j
. . .
. .


Example #37
Sound Picture Rhythms 5, 6, and 7 Combination
r j
4 . .
4
j j r j r r
.

.

.
. .

j j j r

. .
j r j
. .
. .

r r j j r
. . . . .
r
. . .
r j j j r
. . . . . . . .
r j j j
.
.

.
. .


Example #38
j j j
44 . . . . . . . .
j j
. . . . . . . .

How to Read Dotted Eighth & Sixteenth Rhythms

Example #39
j j j j
4 . . . . . . .
4
r j j j j j
.
.
. . . . .
j j j j
. .
. . . . . .

j r r
. . . . . . .
r r j
. . . . . . .
j j j
. . . . .
r
. . . .
j r j j

. . . .
. .

Example #40
j
44


Example #41
j
4 .
4
j j j j

. . . . .
j j j r j j

.
. . .

j j
. . . .

j j r
. . .
j j r j
. .
j j r
. . .
r
. .


Example #42
Using All Sound Picture Rhythms
j j j
4 . . . . . .
4
j r r j
. . . . .
j j
. . . . .

r j
. . . . .
r j j j j r
. . . . . .
. . .
r j r
. . . . .
j j r
. . .
. .


The Sixteenth Note Sound Pictures Review Sheet
Use this sheet to drill each rhythmic sound picture, repeating randomly
around the sheet. This will improve Reaction, Response, and Retention!

Example #43
A Busier Sixteenth Note Sound Picture Rhythm Example
j r
4
4 . . . .

r
. . .
j r j

. . . . .

r
.
. .


Example #44
Final Exam
r j j r j
4 . . . . .
4
r j r j j
.
. . .
. .
j j r
. . .
.
j j j
. . .
. . .
. . .
r j j r j r
. . . . . .
j j
. . . .
j j j
. . . .
. . .


Example #45
Applying Rhythm Reading To Improve Drumset Groove and Coordination
Try playing this combination with the bass drum while playing 8th notes on the hi hat and
"2 & 4" on the snare drum. This approach is a common method of drumset practice.
r j j r r j
4
4 .. . . . . .
r r j
.
. .

j r r r r r
. . . . . .
r j r j r
. . . . . . . ..

Introducing 32nd Notes
The next subdivisions to be learned are 32nd notes.
These notes are next in the progression following 16th notes.
They are an exact doubling of the sixteenth note,

and can be played with double or single stroke sticking.

Example #46
16th and 32nd Note Practice Exercise
44

Example #47
Using Quarter, 8th, 16th, and 32nd Notes
j
4
4

Syncopation Notation
Syncopation notation is a way of writing various quarter and eighth note

rhythms so that they create syncopated phrases that stress
long and short note values, with minimal use of the eighth note rest.
The method, in general terms, substitutes a quarter note in place of

two eighth note values, thus creating the longer sound.
Emphasizing phrasing on the off beat, this style of writing is used

mainly in big band and Broadway charts, played with a
swing interpretation, but we will read straight to start.

Syncopation Creation
Taking standard notation using quarters and eighths,
and converting to syncopation notation.
=
Syncopation Creation 2
j j j j
1 & (2) & (3) & 4 1 & (2) & (3) & 4

6
=
j j j
1 2 & (3) & 4 1 2 & (3) & 4
7
=
j
(1) & (2) 3 4 (1) & (2) (&) 3 4
.
8
=
j
1 (2) & (3) 4 1 (&) (2) & (3) (&) 4
. .
9
=
j j
1 & (2) 3 & (4) 1 & (2) (&) 3 & (4) (&)
. .
10
=

Example #48
Practicing Syncopation Reading Style
Each rhythm is played for two measures
j j j j
4
4
1
j j j j
4
4
2
j j j j j j j j
4
3 4
j j j j j j
4
4
4
j j j j
4
4 . . . .
5
j j j j j j j j
4
4
6
j j
4
4 . . . .
7
j j j j j j
4 . . . .
8 4
j j j j j j
9 4
4 . . .

Example #49
Syncopation Exercise A
j j j j j j
4
4
j j j j j j

j j j
. . . . . . .
j
. . .
j j j j j

j j j j
. .
j j j j j j j j
. .
j j j j j j
.

Example #50
Syncopation Exercise B
j j j j j
c . . .
j j j j j j j
. .
j j j j j
. .
j j j j j j
. . . . .
j j j j

. .
j j j j j
. .
j j j
. . . .
j j j j j j j
.

Example #51
Syncopation Reading In 3/4 Time
j j j j j
3
4 . .
j j j j
. . .
j j j j j
. . .
j j j j j j
. . .
j j j j j
.
j j j
. . . .
j j j j
. . .
j j j j
. .

Syncopation Using Ties
A tie makes a note longer by connecting it to another.
In a tied rhythm, the first note is played, but the second is not.
The value, however, remains the same.
Here are five common examples of tie placements:
j j
(1) & (2) 3 4
j j
1 2 (3) & (4) &
1 & (2) & (3) & 4
j j
1 2 3 & 4 & (1) & 2 & 3 4
j j j j
1 & 2 & (3) & 4 & 1 & 2 & (3) & 4 &

Example #52
Using Ties With Syncopation
j j j j
4 . .
4
j j j j j

.
j j j j j
. .
j j j j j j j

. .
j j j j j
. .
j j j j j
. . .
j j j j j j
. . .
j j j
. . .

Example #53
More Syncopation With Ties
j j j j j
4 . .
4
j j j j j
.
j j j j j
. .
j j j j
.
j j j j j j j
. .
j j j
. . .
j j j j
. .
j j j j
. .

Example #54
Final Exam
Syncopation Combination Solo
j j j j
4 .
4
j j j j j j j
. . .
j j j j j
. .
j j j j j j j
. .
j j j j j j j j
.
j j j j
. . . .
j j j j j
. . .
j j j j j
. . .

Sixteenth Notes Using Ties
Now let's begin to apply ties to 16th note rhythmic figures.
The concept is the same, playing the first note,
and not playing the next note that is tied.
Here are some examples:
Example #55
Sixteenth Note Tie Practice
1 2 3 4
j r
.. . .. .. . .. .. . .. .. ..
5 6 7 8
j
.. .. .. .. .. .. .. . ..

Example #56
Using Ties With Mixed Rhythms
j r j j j
4 . . . . .
4
j r
. .
j j j r j j
. . . . . . .
j j j
. . . . . . .
j j j
. . . .

j j r r
. . . .
.
j j j j j

.
j r j j r
.
.


Introducing Triplets
Unlike the "Essential Rhythm Tree Of Subdivisions" which uses a "build up" approach to
subdividing largest to smallest, the "Triplet Rhythm Tree" is presented in a "break down"
approach from smallest to largest. It is easier to identify the triplets that are to follow by
hearing how they fit into the previous triplet.
The Triplet Rhythm Tree
Quarter
Notes
6 6 6 6
16th Note
Triplets
3 3 3 3
8th Note
Triplets
3 3
1/4 Note
Triplets
3
1/2 Note
Triplets
Example #57
Focusing On Eighth Note Triplets With Eighth and Sixteenth Notes
44
3 3 3 3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3

Example #58
Using Eighth Note Triplets With Eighth Rests
44
3 3 3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3 3 3 3
3
j3 3 3 3 3 3 3 3 3 3 3

Example #59
Combining Quarter Note Triplets With Eighth Note Triplets
44
3 3 3 3 3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3

Example #60
Combining Half Note Triplets With Quarter Note Triplets
44
3 3 3 3 3 3
3 3 3 3 3
3 3 3 3 3
3 3 3 3 3 3

Example #61
Focusing On Half Note, Quarter Note, and Eighth Note Triplets
44
3 3 3 3 3 3 3
3
j 3 3 3 3 3 3
3 3 3 3 3 3 3
3 3 3 3 3 3 3 3

Example #62
Sixteenth Note Triplets
4
6 6 6 6
6 6 6 6 6 6
3 3 3 3 3
3 3 3 6 3 3
3 3 3 3 6 3 3

3 3 3 6 3
3 3 3 3 6

3 3 3 6 3 3

Example #63
Mixed Triplet Combination
44
3 3 3 3 3 3 3 3 3 3 3 3
3 6 3 3 6 3 3 3 6 3
3 3 3 3 3 3 3 3
6 3 3 3 3 3 3 3

Reading New Time Signatures
You can also change the bottom number, or the subdivision that receives 1 count.
6 = 6 beats per measure

In this example there are: -
8 = The eighth note receives one count
count 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6
Here are some other time signatures using the eighth note as the basic pulse:
count 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
count 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7
count 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9

Example #64
Intro To Reading In 6/8 Time Signature
6 .
8
j j j
. .
j
. .
j j

j j j
.
j j j
. . .
j j
.

Example #65
Advanced Reading In 6/8 Time Signature
j
6
8
j j

j j j j
. .
. . .
j j
. .
j j j
. .
. .

Example #66
j
85 .
j
.
j j
.
j
.

Example #67
j
5
8
j j

j j
. . .
j j j r
. .
j
. . .
j j
.
j j

. . .

Example #68
j j
7
8 .
j j

.
j j


Example #69
j
7
8 . . .
.

j
. . . . . .
j j r j j

. . . .

j
. . . .


Example #70
Changing Time Signatures In One Piece
When changing time signatures within the same piece of music, the constant eighth note
pulse must be maintained in order to smoothly transition from one measure to another.
j j j j
4 3 4 . 2
4 4 4 4
j j j
6
8 4 38 .
4 3
4
6 2 6
8 .
3
4 8
j
4 5 . 98 .
3
4 8
j j
7 4
8 . 4 .
7
8 .
12 4 3 4 j
8 4 8 4

What is a BPM?
The tempo, or the speed of the song is shown in BPMs or beats per minute.
This is how the tempo of the piece is determined.
As we know, there are 60 seconds in one minute so a tempo of 60 BPM is

equivalent to one beat per second.
Although none of the examples in this DVD show an actual BPM, most pieces
of music will show the BPM at the beginning of the piece.
If the piece is in a quarter note pulse, the BPM will look like this:
If the piece is in an eighth note pulse, the BPM will be notated like this:

Cut Time
Often times when a piece is played at a faster speed,

it will be written in Cut Time.
Cut Time is essentially called a fast four and is felt in 2.

It is used in marches as well as the Broadway 2-beat,
or in big band jazz charts.
All of the subdivision relationships are the same,

however, they are played at faster tempos.

Example #71
Cut Time
Heres the same rhythm written in cut time.

As you can see, it does not look different from the above example,
except for the cut time symbol.
In 2
Cut time is also commonly used for syncopation notation at faster tempos.
Heres the same rhythm from above using syncopation notation in common time:
Here is the same example as performed in cut time:

In 2

Measure Repeat Signs
Single Measure Repeats
The repeat symbol in the measure tells you to repeat the last written measure.
Double Measure Repeats
The number 2 above the multiple measure repeat sign tells you
to repeat the previous two measures.

Endings
Endings are used to change the end of a phrase on a repeated section.

In this example there are three endings, each with a different rhythm.
Play bars 1-4, then repeat back to bar 1.

Play bars 1-2, skip the first ending and go to the second ending.
Repeat back to bar 1 and 2 again, skip the first and second ending,
and play to the end.

Song Form Notation
The following pages contain two of the most commonly used methods of notating
song form within a chart. These are commonly called Road Maps.
D.C. al Fine Road Map

D.C. is short for Da Capo or back to the top.
The al Fine means to the end.
So, D.C. al Fine means back to the top, and play to the end.
D.S. al Coda Road Map
D.S. is short for Del Segno, which means go to the spot of the sign.
A Coda is a tag, or additional ending section marked by this symbol:
At the coda sign, immediately skip to the coda section,
usually found at the end of the piece.
So, D.S. al coda means go to the spot of the sign,
then jump to the section where marked.

Example #72
Sample Road Map Using the D.C. al Fine
4 yyyyyyyyyyyyyyyy yyyyyyyy
4
.
.
y y y y y y y y

y y y y .
1
y . y y y y y y y y

Fine
. . . D.C. al Fine
(Take all repeats)

Example #73
Sample Road Map Using the D.S. al Coda
4 y y y y y y y y
4
% 2
.
.
y y y y y y y y y y y y y y y y

fi
2
1
y y y y y y y y ..

2 3
y y y y y y y y . y y y y y y y y
.

y y y y y y y y y y y y y y y y 2

2 2 D.S. al Coda

fi
y y y y y y y y y y y y y y y
Coda
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Learn How To Read Rhythms

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Learn How To Read Rhythms

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The Rs Of Reading

These are the factors that enable reading skills:

1. Recognition = Recognize each of the Rhythmic Pictures.

2. Recollection = Remembering each of the Rhythmic Sounds.

3. Reaction = Responding correctly to the Rhythmic Sound Pictures.

4. Repetition = Rehearse and repeat rhythms correctly.

5. Retention = Retain and commit rhythms to memory.

6. Reinforcement = Review to stay sharp.

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4 = How many beats per measure

In the below example, the time signature is placed

4/4 is also known as Common Time. It can also be marked with a C.

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Repeating Sections Multiple Times

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Changing The Amount Of Beats Per Measure

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This concludes the basic mechanics of music notation.

Now lets move on to the reading examples.

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Here is what each rest looks like as well as its duration:

A Whole Note Rest= 4 Beats

B Half Note Rest= 2 Beats

C Quarter Note Rest= 1 Beat

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Lets put all three rests into musical context

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There are 9 different eighth and sixteenth rhythmic combinations.

Sound Picture Rhythms 1 & 2

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Q: Where should my eyes focus when reading sixteenth notes?

Here is an example using just the top stems of the rhythm.

Practice this exercise to help the eyes

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(1) & (2)

A single eighth note has one flag.

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Replace an Eighth Note With an Eighth Note Rest

1 & a (2) 1 e & (2)

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If a half note equals 2 quarter notes,