Fortunately, there are two ways of notating such durations. Very frequently, you will encounter notes with a small dot immediately to the right. One such note appears at the very beginning of the excerpt in Example 1—3 reproduced below :. The first note at the very top of the first measure of Example 1—12 is referred to as a dotted quarter note. Adding a dot to a note increases the duration of the note by half of the original note value. A dotted quarter note, in other words, lasts one and a half times as long as a normal quarter note.
One half the duration of a quarter note is equal to an eighth note. Therefore, a dotted quarter note is equal to a regular quarter note plus an eighth note:. Any note value can be dotted. A dotted eighth note, for example, is equal to one and a half eighth notes or, an eighth note plus a sixteenth note.
Rests can be dotted as well. Just as with dotted notes, adding a dot to a rest will increase its duration by half of the original value.
Note: You may occasionally come across notes with more than one dot. In a double-dotted note, the second dot adds half of the value of that added by the first dot. A double-dotted quarter note, for example, would be equal to a quarter note plus an eighth note plus a sixteenth note:. Each additional dot adds half the value of the previous dot.
In a triple-dotted note, the third dot adds half the value of second dot. A triple-dotted quarter note, then, would be equal to a quarter note plus an eighth note, a sixteenth note, and a thirty-second note! A tie is written as a curved line connecting two notes.
The duration of the first note is increased by the duration of any notes tied to it. The following example demonstrates:. In Example 1—15, the initial half-note is tied to the following eighth-note. The initial note is heard as one long note, the duration of which is equal to a half note plus an eighth note. In other words, listening to Example 1—15, we hear three different notes: a long note followed by two shorter notes.
Any two note values can be tied together, making the tie a particularly versatile rhythmic tool. The duration created by the tie in Example 1—15, for instance, could not be expressed using dotted notes. Unlike dots, which can be added to notes or rests, ties cannot be used to increase the duration of a rest. Ties can be used to connect three or more notes as well.
Ties can be easily confused with slurs. Slurs are also written as curved lines connecting two or more notes. They serve a variety of purposes—phrase grouping, in particular—but are essentially used to indicate to the performer a grouping of notes for expressive purposes.
The following example shows a tie and a slur:. Slurs are easily distinguished from ties because they connect different pitches. The concept of pitch—the perceived highness or lowness of a tone—is explored in greater depth in Chapter 5. For now, it will suffice to point out that the pitch of any particular note is indicated by its vertical position.
A tie, because it is used to extend a single pitch, always connects two notes at the same pitch. The first two noteheads in Example 1—16 are written at the same vertical position.
Therefore, they represent the same pitch and the curved line is a tie. The fourth notehead is written slightly higher than the one just before it.
These two notes represent different pitches, and the second curved line is therefore a slur. Remember, a slur connects two or more notes of different pitches, whereas a tie connects just two notes of the same pitch. Rhythm and meter are different—but closely-related—aspects of how music unfolds in time.
Most Western music is characterized in part by a steady, underlying pulse commonly referred to as the beat. Meter refers to how these beats are organized, whether in groups of two duple meter , three triple meter , four quadruple meter , or some other number.
Rhythm refers to the actual durations of sounds and silence in the context of a particular meter. And so on. Shorter durations can be written by adding extra flags.
Longer durations are possible as well, but are not in common use. Any of these note values can represent the beat. Each of these note values also has a corresponding symbol to represent a rest of equal duration:.
Versatile though the note value symbols are, they are not, by themselves, capable of expressing all possible durations. There are two common methods for increasing the duration of a given note. Adding a dot to a note increases its duration by half of the original value. Connecting one note to another with a tie increases the value of the original note by the value of the added note. Rests cannot be tied. Skip to content I.
Example 1—2. Example 1—3. Allegretto grazioso, mm. Example 1—4. Andante cantabile, mm. Example 1—5. Example 1—9. Relative durations of quarter notes and half notes.
Exercise 1—1a: Question How many quarter notes would be equivalent to the duration of each measure of the following rhythm? Follow-up question How many half notes would be equivalent to the duration of a single measure? Referring to Example 1—8, how many half notes are equivalent to two quarter notes?
Exercise 1—1b: Question How many eighth notes would be equivalent to the duration of each measure of the following rhythm? Follow-up question How many quarter notes would be equivalent to the duration of a single measure? Referring to Example 1—8, how many quarter notes are equivalent to six eighth notes? You might record yourself playing or ask others for feedback.
Next, you need to learn to feel these eighth note subdivisions when you're not playing notes on the beat. This can be tricky for a lot of beginners. Again, get some feedback from other people, a teacher, or record yourself. A lot of beginning bassists don't realize they're playing the off-beats in the wrong place.
These off-beats should fall exactly between the click of the metronome. Don't get turned around and start playing on the click. Pay attention. It'll groove when it's right. Count out loud - "One-and-Two-and-Three-and-Four-and" and pluck on the 'ands'. Or, count "doom-tek-doom-tek The counting will really help you when you're starting out. See counting rhythms. Once you can play steady 8th notes and play the off-beats independently, you can practice alternating one bar playing on the beat and one bar playing only the off-beats.
There are two commonly used ways of notating this…. But that would be a mistake. So be sure to read the instructions closely. When you are totally comfortable with playing eighth notes using alternate picking, then it would be a great idea to work on the timing exercise using all downstrokes.
Doing this will help you in a few ways…. Because most of the progression is now being played using eighth notes, this means that the total length of the progression is now only 8 beats.
As well as being shorter, we now have an interesting technical dilemma. If you play the progression using alternate picking, like I recommend in the timing exercise, you may find that it introduces a certain unevenness to the sound of the chords. To my ears, the chords being played with a downstroke sound slightly different than the chords being played with an upstroke. To help remedy this potentially annoying unevenness, I recommend learning to play the chord progression using all downstrokes.
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