Odd Meters Vol.1

Overview

Practicing is more productive and far more fun when you have the help of a tireless friend; in this case your computer. These books are the first of their kind, using the internet as a teaching tool. All the written exercises provided have audio counterparts which can be downloaded from the Internet. Mr. Arnold has taught at some of the most prestigious universities in the world, and these books are the result of seventeen years of experience. He has observed his student's most common musical problems, elicited ...
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1996 Spiral-bound Good 058 Item may show signs of shelf wear. Pages may include limited notes and highlighting. Includes supplemental or companion materials if applicable. ... Access codes may or may not work. Connecting readers since 1972. Customer service is our top priority. Read more Show Less

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Overview

Practicing is more productive and far more fun when you have the help of a tireless friend; in this case your computer. These books are the first of their kind, using the internet as a teaching tool. All the written exercises provided have audio counterparts which can be downloaded from the Internet. Mr. Arnold has taught at some of the most prestigious universities in the world, and these books are the result of seventeen years of experience. He has observed his student's most common musical problems, elicited their input, and the results are the Bruce Arnold Series of Music Workbooks, addressing both harmonic and rhythmic issues. These books are geared to the seriously dedicated musician, whether beginning or professional, and will provide a lifetime's worth of study and inspiration.

We are very excited about Mr. Arnold's innovative instruction series. We believe that this series of books will help more students and professional musicians to perfect their technique and reading skills through the use of an interactive "practice partner." We know of no other books to compare with them; they are truly a teaching method for the New Millennium!

About the Author:

Bruce Arnold is from Sioux Falls, South Dakota. His educational background started with 3 years of music study at the University of South Dakota; he then attended the Berklee College of Music where he received a Bachelor of Music degree in composition. During that time he also studied privately with Jerry Bergonzi and Charlie Banacos.

Mr. Arnold has taught at some of the most prestigious music schools in America, including the New England Conservatory of Music, Dartmouth College, Berklee College of Music, Princeton University and New York University. He is a performer, composer, jazz clinician and has an extensive private instruction practice. Currently Mr. Arnold lives in New York and is performing with his own "The Bruce Arnold Trio", and "Eye Contact" with Harvie Swartz, as well as with two experimental bands, "Release the Hounds" a free improv group, and "Spooky Actions" which re-interprets the work of 20th Century classical masters.

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Product Details

  • ISBN-13: 9780964863293
  • Publisher: Muse Eek Publishing Company
  • Publication date: 7/11/2003
  • Format: Spiral Bound
  • Pages: 150

Read an Excerpt

This book's purpose it to help a student learn how to read and feel odd time signatures. There are some definite right and wrong ways to approach this goal. If you are a beginner at trying to read odd meters you will first need to subdivide a measure using the common denominator pulse unit. In Example One you can see that even though the time signature changes from 4/4 to 5/8 the common denominator is the eighth note pulse. Therefore when you are moving back and forth between a four and an eight meter you will need to "feel" an eighth note pulse. I recommend at first saying the pulse out loud to make sure you understand. When you count out loud you should use a "1 and, 2 and ..etc." to count a four metered measure and count up in numbers when you are in an eighth note meter. i.e. 3/8 would be 1,2,3. You can see in Example One that as you change from a four meter i.e. 4/4 to an 8th meter i.e. 5/8 you keep an eighth note pulse going in your head but change the names you are calling the basic pulse depending on the meter of the measure.

Example 2 shows how you might subdivide a measure where the eighth-note is the common denominator but the measures contain mostly sixteenth notes.

You can see in example 2 that feeling the pulse as sixteenths can make it easier to execute certain rhythms. You will find that reading examples 1-5 could be felt with an eighth note pulse while example 6-10 could be felt with a sixteenth note pulse.

Composers subdivide measures to help the performer see how they hear the internal accents of that measure. You will notice in Example One that 5/8 measure is felt in a group of two and a group of 3 eighth notes while the 3/8 measure in Example Two is felt as three separate and equal beats notwithstanding the natural accent the 1st beat of the measure would receive. When reading the examples found in this book, use these groupings to help you quickly see how a measure is felt and divided.

This method presented here of feeling a basic common denominator pulse will greatly help you in initially playing the examples. Of course you ultimate goal is to feel the pulse of the entire measure which is the original reason to have an odd meter. This is particularly true at fast tempos where it is much more natural and musical to feel the pulse of the measure as your primary beat. In order to do this you must develop a natural internal feel for the underlying common denominator pulse which comes with beginning to trust your internal clock and letting the basic pulse move to the background in your mind . This should eventually be taken further, to where you have an aural image of the rhythm before you play it with no conscious internal subdividing. This last level comes with practicing the examples contained in this book along with playing music in odd time signatures until it's a natural process. As you get more comfortable you should start to feel the time rather than count the time. It is much better not to count at all, but to "feel" the overall rhythmic pulse of the measure. The audio example should help you to relax while still knowing if you are playing correctly.

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Foreword

Odd Meters Volume One is a breakthrough in music instruction, using the internet as a teaching tool! A book for any instrumentalist seeking to develop their understanding of rhythms. All examples use one pitch, allowing the student to focus completely on time and rhythm. This book applies both eighth and sixteenth note rhythms to odd meter combinations. (A must for the aspiring avant-rocker or jazz fusionist!)

Many of my students have asked me how they can improve their comprehension and execution of rhythms within odd meters. This book is an attempt to fill those needs.

Although there are many books available that address rhythms, this odd meters series of books is unique in that each written example is accompanied by an audio example. These audio examples can be downloaded from the internet at muse-eek.com. The audio examples use midi files. Midi files programs can be downloaded for free on the internet.

Volume one of this odd meters sight reading series aims at getting a student proficient at recognizing and playing highly syncopated rhythms while moving through time signature changes. The examples herein are typically found in contemporary rock and fusion where intricate meter changes and syncopations don't always line up with the traditional basic accents of a measure. Other volumes in this odd meter series will take this one step further by introducing metric modulation, more varied metric denominators and rhythmic values. See the final pages of this book for a complete listing and description of current music related publications.

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