The same rhythm at 60 BPM, then at 80
A bar of the pulse alone, then four bars of a rhythm over the beat at 60 BPM, then the same four bars at 80 BPM (C5 over a soft pulse on C3: clap with the low note)
The beat, then two and four to each beat
A bar of the pulse alone, then two bars of quarter notes, two of eighth notes and two of sixteenth notes (C5), 60 BPM over a soft pulse on C3
In the book: Figures 6.3, 6.4 and 6.5.
A dot and a tie: the same sound; a tie over the bar line
A bar of the pulse alone, then a dotted quarter, an eighth and a half note; the same with a quarter tied to an eighth; then four quarters, the last tied over the bar line into the next bar (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.2.
Six eighth notes in two groups of three (6/8), then in three groups of two (3/4)
The soft C3 counts six eighth notes a bar (the first a little louder), 160 a minute; after a bar of the count alone, the C5 plays two bars on 1 and 4 (6/8: two beats), two bars on 1, 3 and 5 (3/4: three beats), then both again
In the book: Figure 6.10.
Simple meters: 2/4, 3/4 and 4/4
For each meter a bar of the soft C3 counting its quarter-note beats alone (the bar's first a little louder), then two bars with the C5 on the strong beat (and on 4/4's medium third beat), 72 BPM
In the book: Figure 6.8.
Compound meters: 6/8, 9/8 and 12/8
For each meter a bar of the soft C3 counting its eighth notes alone (the bar's first a little louder), then two bars with the C5 on each dotted-quarter beat: two, three and four beats a bar; eighths at 120 a minute
In the book: Figure 6.9.
Odd meters: 5/4 (3 + 2) and 7/8 (3 + 2 + 2)
For each meter a bar of the soft C3 counting it alone (5/4 in quarter notes, 7/8 in eighth notes, the bar's first a little louder), then two bars with the C5 on each group's first count: 5/4 as 3 + 2, 7/8 as 3 + 2 + 2; quarter notes at 72 a minute in 5/4, eighth notes at 144 in 7/8
In the book: Figure 6.11.
Two to a beat, then three, then two again
A bar of the pulse alone, then two bars of eighth notes, two of eighth-note triplets and two of eighth notes (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.13.
The same bar straight, then swung
A bar of the pulse alone, then two bars of eighth notes and a quarter played straight, then the same two bars swung, each pair long-short as a triplet's two and one (C5), 80 BPM over a soft pulse on C3
In the book: Figure 6.14.
Three against two
A bar of the pulse alone, then four bars of 2/4: the soft low C3 taps two beats, the C5 plays three even notes in the same time, 60 BPM
In the book: Figure 6.15.
On the beat, then off the beat
A bar of the pulse alone, then two bars on the four beats and two bars on the four "and"s, the beats left silent (C5), 60 BPM over a soft pulse on C3
A plain bar, then the same bar syncopated
A bar of the pulse alone, then two bars of eighths and quarters (1 and 2 and 3 4), then two bars with the "and" of beat 1 held over beat 2 (1 and (2) and 3 4) (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.17.
A plain bar, then the backbeat
A bar of the pulse alone, then two bars of four even quarter notes, then two bars with beats 2 and 4 louder (C5), 72 BPM over a soft pulse on C3
In the book: Figure 6.18.
Pattern 3, then pattern 4
A bar of the pulse alone, then two bars of four sixteenth notes on every beat, then two bars with each beat's e left out (an eighth and two sixteenths) (C5), 60 BPM over a soft pulse on C3
In the book: Figures 6.21 and 6.22.
Pattern 1: quarter note
A bar of the pulse alone, then four bars of a quarter note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.19.
Pattern 2: eighth notes
A bar of the pulse alone, then four bars of an eighth note, an eighth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.20.
Pattern 3: sixteenth notes
A bar of the pulse alone, then four bars of a sixteenth note, a sixteenth note, a sixteenth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.21.
Pattern 4: eighth and two sixteenths
A bar of the pulse alone, then four bars of an eighth note, a sixteenth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.22.
Pattern 5: two sixteenths and one eighth
A bar of the pulse alone, then four bars of a sixteenth note, a sixteenth note, an eighth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.23.
Pattern 6: sixteenth, eighth and a sixteenth
A bar of the pulse alone, then four bars of a sixteenth note, an eighth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.24.
Pattern 7: dotted eighth and a sixteenth
A bar of the pulse alone, then four bars of a dotted eighth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.25.
Pattern 8: sixteenth and a dotted eighth
A bar of the pulse alone, then four bars of a sixteenth note, a dotted eighth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.26.
Pattern 9: eighth-note triplets
A bar of the pulse alone, then four bars of an eighth-note triplet, an eighth-note triplet, an eighth-note triplet on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.27.
Four-bar sequence, exercise 1
A bar of the pulse alone, then four bars of patterns 2 5 5 6 | 2 3 5 4 | 9 9 5 4 | 5 4 8 8 (C5), 60 BPM over a soft pulse on C3
Pattern 10: syncopated eighth notes
A bar of the pulse alone, then four bars of a rest as long as an eighth note, an eighth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.28.
Pattern 11: syncopated sixteenth notes
A bar of the pulse alone, then four bars of a rest as long as a sixteenth note, a sixteenth note, a sixteenth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.29.
Pattern 12: eighth note rest and two sixteenths
A bar of the pulse alone, then four bars of a rest as long as an eighth note, a sixteenth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.30.
Pattern 13: sixteenth note rest, sixteenth note and an eighth note
A bar of the pulse alone, then four bars of a rest as long as a sixteenth note, a sixteenth note, an eighth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.31.
Pattern 14: sixteenth note rest, eighth note and a sixteenth note
A bar of the pulse alone, then four bars of a rest as long as a sixteenth note, an eighth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.32.
Pattern 15: dotted eighth note rest and a sixteenth note
A bar of the pulse alone, then four bars of a rest as long as a dotted eighth note, a sixteenth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.33.
Pattern 16: sixteenth note rest and a dotted eighth
A bar of the pulse alone, then four bars of a rest as long as a sixteenth note, a dotted eighth note on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.34.
Pattern 17: syncopated eighth-note triplets
A bar of the pulse alone, then four bars of a rest as long as an eighth-note triplet, an eighth-note triplet, an eighth-note triplet on every beat (C5), 60 BPM over a soft pulse on C3
In the book: Figure 6.35.
Four-bar sequence, exercise 2
A bar of the pulse alone, then four bars of patterns 15 12 17 12 | 10 11 13 12 | 17 17 13 12 | 13 12 10 16 (C5), 60 BPM over a soft pulse on C3