Despite the name, this book is as useful for the advanced player as for the beginning pupil. It is a combination of the information presented in Rhythms Volumes One, Two and Three, but it is presented in a very simplified manner. The beginning student will be able to read the rhythms slowly, to familiarize themselves with basic rhythmic concepts. On the other hand, the advanced player will find that playing these exercises quickly will greatly facilitate reading skills. A speed-reading course for the advanced student, this is one of the teaching secrets that Mr. Arnold now presents in book form. All examples use one pitch, allowing the student to focus completely on time and rhythm on the instrument of their choice. All exercises can be downloaded from the internet to facilitate correct practice, enhance clarity and aid internalization. See the muse-eek website for details. This book is a required text at New York Universities and Princeton University Music department.
EXCERPT 1
This book can be used to learn sight reading and to learn rhythms. There are some definite right and wrong ways to approach this goal. If you are a total beginner, obviously you will have to first learn the subdivisions of a measure and what each eighth note or sixteenth note rhythm sounds like. This may require you to subdivide a measure or a beat in your head. For instance, the eighth note rhythm in Example 1 could be subdivided by counting eighth notes in your head as you play the rhythm.
Example 2 shows how you might subdivide a sixteenth note measure. Though this type of subdividing may help initially to figure out a rhythm, in the long run is a very bad idea to develop a habit like this. It is much better not to count at all, but to feel the rhythm. This feeling requires that you know what the rhythm sounds like before you play it. This instant recognition of a written rhythm can be developed by trusting your internal rhythmic clock, relaxing, and memorizing the sounds of all rhythms. This may seem like a daunting task considering how many rhythmic combinations there are but look at this as a long range project. You will be reading music for the rest of your life, so start now.
To tap or not to tap (your foot) that is the question. It is much better to get out of the habit of tapping your foot. Too many students start off relying on their foot to keep them in time rather than their internal musical sense. Trust yourself and over time your feel, time and accuracy will improve. It is one thing to tap your foot as a response to playing music, it is another to be tapping your foot to keep time. "Feeling" rhythms will give you better time and make your reading more musical.
On any instrument economy of motion is important especially as the tempo increases. With all exercises found in this book make sure to move your hands and fingers as little as possible while at the same time keeping them relaxed. If you are a guitar player I would recommend my Right Hand Technique Book ISBN 0-9648632-6-X as a companion book to help you develop the proper right hand technique.
You should also read the examples found in this book with both a straight eighth or a "swing" feel. The audio examples found on my website have the straight eighth feel. To work on using a swing feel I recommend getting together with a drummer or playing along with your favorite swing drummer on CD. Most swing tunes are written out using the rhythmic level found in book one of this series i.e. eighth notes......
