R  I  T  M  I  A

7 Day Workout For Better Rhythm

Free Online Course:
Each day you will be working on a set of exercises using one minute tracks. Each track will give you a count off, a metronome sound, a clapping sound and a voice sound. The idea is that you follow the audio by clapping and singing the correspondent parts, while staying rooted on the basic pulse. You will also have a visual image of the 3 different parts (metronome, clapping & voice). Once you have completed the exercises, you will write down the ones that you struggled with, because these will be your assignments on days 6 and 7. The main idea is to synchronize what you are listening (metronome), what you are playing (clapping) and what you feel internally (voice). On days 6 & 7 you will be working on the exercises you wrote down at the end of each session on the previous days, which should be the exercises you found most challenging. The idea is to work on your weaknesses until they become your strengths. Singing is the key element here, because your voice is the physical manifestation of your inner pulse or inner time. If you can ́t sing in time, chances are you won ́t be able to play in time. The more “in time” you ́re able to sing the rhythms and figures, the firmer the imprint in your brain and body of those rhythms, allowing you to play a relaxed, flowing time feel and pulse.

Advanced 7 Day Workout For Better Rhythm

Like in the basic course, you will be working on a set of exercises using one minute tracks. Now, since this is an Advanced Course, the idea is that you also practice the exercises on your own without the help of the provided tracks, and without any external reinforcement of the pulse, like foot tapping, etc. It should only be you and the metronome. This will train your ears to sync and lock up with different figures, which is most likely what you will be doing in a real life playing situation. Once you have completed the exercises, you will write down the ones that you struggled with, because these will be your assignments on days 6 and 7. The main idea is to synchronize what you are listening (metronome), what you are playing (clapping) and what you feel internally (voice). The idea is to work on your weaknesses until they become your strengths. Singing (vocalizing) is the key element here, because your voice is the physical manifestation of your inner pulse or inner time. If you can ́t sing in time, chances are you won ́t be able to play in time. The more “in time” you ́re able to sing the rhythms and figures, the firmer the imprint in your brain and body of those rhythms, allowing you to play a relaxed, flowing time feel and pulse.

7 Day Workout For Odd Meters 7/8 Edition

One of the best ways to get comfortable with odd meters is to learn how to feel the odd meter within your 4/4 playing. What I mean is that by training yourself to hear and feel how your 4/4 grooves and patterns fit within the given odd meter, you will be covering a lot of ground because you will be drawing from vocabulary that you are already using. The key is to learn how to superimpose simple rhythmic motifs that you are already familiar with over the odd meter, giving yourself enough time to get used to the “on and off” feeling that odd meters have in relationship to 4/4, meaning on and off the 4/4 beat .You will be expanding your vocabulary based on rhythmic motifs that you have already mastered, and you will be also progressing on the ability to make smoother rhythmic transitions, establishing a stronger sense of groove, inner time and pulse, and your ideas will have deeper roots and more rhythmic weight to them. Using this approach you will gain the freedom to explore how to edit your original pattern to make it fit the new meter, making the overall process of creating new versions of your rhythmic statements a more musical and organic experience, because you will be relying on your ears to guide you in the process of shaping your rhythmic concept. You will also be getting familiar with playing over the bar line, thus learning and practicing how to make more “open” musical sentences.