Rhythmic Studies for All Instruments: v. 1

This book is composed of a series of exercises that emphasize rhythmic articulation over compound meters, note groupings, subdivisions and metric modulation. It is written for all instrumentalists, and provides a system that allows the musician to practice these concepts in both solo and group settings. Although the exercises are based on the traditional blues form as a common beginning point, all of the exercises can be applied to both the standard repertoire and original compositions. This book is ideally suited for the intermediate/advanced student.As music evolves, so do the techniques, mechanics and esthetics that musicians use change and develop to express their new approaches to melody, harmony and rhythm. Improvising musicians have been creating and performing music for thousands of years; as musicians who have studied jazz for a number of years can attest, this art form, by its very nature, will continue to evolve. And like all musicians, we draw much of our inspiration through studying the performances of all the great artists throughout the history of our music.With the continued development of melody, form and harmony, so has rhythm grown to encompass the concepts of many musicians that are introducing challenging new ideas based on meter and form. Since the introduction of African, Afro-Cuban, Indian, South Pacific and Asian music into American culture, musicians have used these influences in both their compositions and improvising. By applying some of these ideas over standard forms, such as the blues, we can gain an understanding of how these concepts can be applied to many different musical genres. But the idea for many of these exercises is to gain more control over the basic quarter note, of pulse and of form. These exercises are also meant to be played with other musicians; they are not just solo studies.The best way to learn these concepts is to work in any musical setting you can organize, be it duo, trio or quartet. Often you may want to rehearse in a group setting with a metronome running to help guide the musicians. Once you and your bandmates develop these ideas, begin writing and performing your own compositions and formulating your own ideas.

Table of Contents:
AcknowledgementsAbout the AuthorForewardCounting and ClappingDotted Quarter Note Transposition of Harmonic Rhythm in "Blues for Alice"Three Bar Cycles of Dotted Quarter NotesAlternate Harmonic Rhythm #1Alternate Harmonic Rhythm #2"Blues for Alice" in Compound Meters"Blues for Alice" in 3/4"Blues for Alice" in 5/4 (3-2 subdivision)"Blues for Alice" in 6/4 (3-3 subdivision)"Blues for Alice" in 7/4 (4-3 subdivision)"Blues for Alice" in 5/4 (short form 3-2 subdivision)"Blues for Alice" in 7/4 (short form 4-3 subdivision)"Blues for Alice" trading 3 bar Phrases"Blues for Alice" trading 5 bar PhrasesSubdivisions with accents; subdivisions over a blues formMetric Modulation: triplets and quarter note tripletsMetric Modulation on the quarter note triplet levelMetric Modulation and Harmonic Rhythm on the quarter note triplet levelHarmonic Rhythm in the superimposed 3/4Quarter note triplet phrasing on downbeats and upbeats; introduction to half note tripletsHalf note triplet harmonic rhythmHalf note triplet phrasing with melodyQuintuplet subdivisions and Septuplet subdivisions"Blues for Alice" within 5 over 4 Metric Modulation"Blues for Alice" within 7 over 4 Metric Modulation

About the Author :
Tony Moreno is from NYC. He attended and received his degree from the Manhattan School of Music. He studied privately with Stan Koor, Elvin Jones, Bob Moses and Al Kuumba Heath and James Preiss. Tony teaches at New York University, Columbia University and the City College of NY. Tony has appeared on over 70 recordings, and travels extensively throughout the U.S. and Europe.