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faclorial
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AcknowledSements

Caution !. . . . . . .
Warning!
Disclaimer! .......... ... ......ììì

Rhy t h n . . . , , , . . . . .
to Foctotiol
fntroduction

Betweenthe Authors
A Conversation

SeedRhnhmsfor"96 P lus". . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 4

for"96 P lus"( me lo d ic )
SeedRh).thms . .................. .l'+

ShortForm(3 attacks) . . . . . . . . . . . . 15

in 3/8orTripletsi# l. . . . . . . . . . . .
Rhythms ...................... -.16

#2 . . . . . . . . . .
in 3i8 orTriplets:
Rhythms ...... , ., . . . 1 7

Rhythms
in 3/4 ........18

"96 P lus"(l attack)........... . .............. ... -. -..20

atta c k s.). . . .
"96 P lus"(2 consecutive ...... .....,,,,... 24

"96 Plus"(3 attacks) . . . . . . . . . . . . . . . . 28

Ise e d s wit h2 s e e d s ). . . . . . .
(combining
56 Measures ........... ,,,,,..32

(combiningI seedswith 3 seeds) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

64 Measures

2 seedswith 3 seeos,. . . . . . . . . . .
(combining
56 lfeasures ... .,,34

in 6/4(3 attacks).. . . , . . . . . . . . . .
Rhythms . . . . . . . . . . . .. -36

in 5/4
Rhythms ............. .., ..40

in 7/8
Rb/thms ....... ....... .....42

...............
I MetroS weeps
A ppendix ........................45

2 "96 P lus"(2 att a c k s ) . . . . . . . . .

A ppendix ... ...........47
EIIU'I..EDGEI.IENTS
Tb t'd@r' aregateful to thefollowingpeoplcfor their
4tintion, @ntributionsto afid sùppottof thk publice-
airr,,Mr diftîtly and indirectly:
b Serranreand timmy Haslip,of the Yellowiackets,
fu óGir invaluableinterestand insight; Robm
(;-Édral, for her constantsupport,editing and design
il6 ton Haupersand Bob Weiner,for their collective
rhythmicwisdom;Wm.R.Brinkley & Associates,
Inc.,
for theirhardwork,design,anddedicationto pcrfec-
tion;TobiasGiesenofTG Tools,for the time saving
plug in; StevenHarrison,for his motivationalwritings
andprogessir€thoùghtson learningandeducatio;
who workedhardpracticiÍgthis
and all the students
materialand hadthe coungeto askall the right ques-
tionsandthe oDenness to sharetheirexDeriences.
)
I WARNING! CAUTIONI
DISCLAII.IER!
I
)
)
) Please b€ advisedthat the autho$/publishers takcno Éachandeverymùsicianmustcontinuously monitor
responsibilitywhatsoerer for any (and all) accidental the sensations theyperceive in all partsoftheir bod)
) selfinflictedinjuriesthat mayoccur involvedìn the productionofsoundwhileplayingthese
and inadvertent
) fromerploringthematcridl rn lhi5book.l h;' i5c'pe rhythms;erron the sideofbeingovetlycarcful."No
ciallyrelevantfor those musicians who havealready pain is thewayto go."Perhaps it wouldbeevenbetterto
) put it thisway:"Not eventhe slightest hint ofany dis
experienced similarproblemsin úe past.Sinceall of the
) rh],thmsinvolvethe possibilityof ntrmerous rcPetitions' comfort is the way to go."
) we canseethe Polentialfor difficuìtiesfiom "over-use." Eachandeverymusiciancertainlyhasthe freedomto
Wewouldsuggest that all mùsicians aPproach this be creativein how theyuse/explore whafsin thisbook.
) Bul eachand everymusiciànmusttakeresponsibility for
bookwith a fair degreeofcaution,at ìeastinitially.It
) mjghtbe wiseto setrcasonable time limits on practic- the consequences of loltthey use/explore all of it
ing/exploring for the first few weeks (perhapsaslittle as Youmustexercise your intelligence,
your sensitivity,
)
per
5, 10or not morethan 15minutes session). your cautionandyour goodjudgment.No oneelsecan
) Sincethebookis ainìedat all musicians (for alì do this/oryoù.only l,oucan.And whenyou do,lhere
insîruments), eachand everymus;cianneedsto becog shoùldbe noproúlem.
ni?antofthe diflerences betweeninstrumentsin lerms Youhavebeenrvarnedl(Please takegoodcareof)our
of thingslike: body!)
t difficultyor easein playingrepeated notes In the intcrviewthat follows,be sureto underfand
) I tempocons;derations the sectiorreferringto "Seductionby Noveltv;'as\vcììas

I I dlnamic considerations otherobservations aboutthephysicalaspects of pla)"ing

I limb or combinedlimb movem€nt nìusicalinstruments.
I single-hand or twoìand movement
) ! single-finger or muhiple-fin8er movement

I ! breath,lips,toÍrgue,
I combinatiolìs
cmbouchure
ofall ofthe above
)
)

B
I
I
I
I

I
I
)
) INTRODUCÎON TO FACrORIALRHYîUM
) br Mrk Goodrtckond Mttch Houoerc
)
)
) Vvhar ls FactorialRb/thml
ln mathenìatics,fnctorialmeansthe product of à num-
)
ber and all the lhole nùmbcrsbelow it. Hence,/orrfd.
) tur'idlNouldbe 4 x3 x2x I = 24. (The synìbolfor this
, equalion is: 4l) In music, we can apply this principle to
anr, rhrrhmic ouantìty (i.e., I = .'i 2 = J;ì or.li 3 = JJJ
I \\\i
of..ì 4 =.,., orrl.
t L'ting another mathematicalprincipìe calledpcrt"í
:rtidn lan orderedarrangcmenlor grouping of a sel of
)
numberst.sc t,rn dr'rovern//1o.vùlrrh1thmi. prc'crr-
) rrtions ofanl given set ofrhythms.
) \úrat lhis meansis that four fdctorial,.'úhen,\pplled
:o rhvthnl, yields 24 possiblelerrturd.ions. If we dis
I Fla.c theseorigjnal 24 lhythnic permutationsby one
) eiehth note, we come up with 24 new rhytbnìs.We can
displacethem two more tiÌnesbeforc thcy becolnethe
)
ariginal rh)'thms again.So,thcre are 96 possibiliticsin
) .ll rt4 x4 = 96).
) Ifa student practicesdillossiúle rhythnic presenta-
rions ofany given set of rhythms, hc or shewill have
)
:ùlll cxploredthem. This thoroughnessis essentialto
I :he absorptionof nìusicalknowledge,especiallyfor
) :hoseinterestedin developingtheir ìnrprovisationskills.
) \ /hat ls This Book?
) In this book, rcaders1{ilì find a thorough presentatjon
ofrhYthmic sourcematedalsfor use in practicing,com-
)
Fosing,aÍanging and perforn'ìingmusic. (It is reason
) ,]bleto expectthat dancersand choleographersmay
I erentuallyfind this book of greatjntercstasIvell.)
)
I Mick Goodrick and Mitch II:upers
, Bosro'r,Noverrrer100,1
The authorssharea common belief lhat readcrsand
studentsof this matcrial alread)'possess the tools,cre-
ativity and iÌìnate curiosity to define thcir o$n path
through it. As well, alìy allempt at establishingmethod
ology may cìrcunìventthe chancefor self-dìscovcrvor
presupposethat one way to work wilh lhis material is
better than another.
Ycs!Youhaveprobably glressedit. lîd.loridl Rl,lfitrr is
another Do It Yoùrs€lfBook.\bu supply the effort and
lve supply all the rhythms, some usefulinformation aìrd
à fe!,rìnsightsfrom "sonìewhere(eLse)along the path."
Hrre ar<sonrething' 1ou nr.ryrecd shen u.,ng thi'
bookr a n1etrorìome,a rclaÌed and realific attilude
to$'ardprogress,tinle (iveeks,months, etc.),and a lole
for explorirìgrhyth .
Like so many things,thorouglì practicerlill infornl
not only your playirg but lvilÌ proyide a spaccin rrhi.h
lo grolv.Youcol d thiììk ofit thisrr'ay:
'fyoun'ereatree
(perhapsa,voungsapling)in a foresl oflarger, older
trees, working on the rhythm ùìaterialin this book
would be the equivalentofelablishing a firrn rool srr-
teÌn in nu uring sojl. To contirìuethis analogy,this
book could be viewedàs a seedthat hasfalleÌì froln àn
older tree creatingthe possibilityofnew growth.
\|c.ifi(rrlv. rlìi\ book \ilì heìpthe pra.ti.i|ìgrnu'i-
cian ilì deveìopìnga more exteNive rhythlìlic vocatu
laiy, aswell as improving sight-readingskills.As ith
most endeavorsofthis sort, the benefitsarc unprc-
dicLableand vàrywith eachmusiciaù,The fun is in the
process-if you haven'tàlreadydone so,try and learn Ìo
enjoy the process.

)
,
)
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t
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)
t
)
)
)
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 BETWEENTHE AUTHORS
A CONVERSATION
where!VolumeThreel
MH utì,v this sùddcnneed to Í'rite a rhylhm book,
especiallyin úe midsl oftryjng to completethe
three-volumeser;cson voìce leading?\Vhdt are
l-ou goiùg throùgh at this stageiD your lìfe àsa
Dracticirrgmusiciànand performer that has
prompteà you to codìfy your expericncesand
sharethem publiclY?
YG Ifs a coùbination ofthe fact that I iùst kind of see
thesethings and haveto go after them't'hich
meansit's frcsh for me and there'senergybehind
it. There'sa straogckind oflhing lhàt goeson' for
me at least,lvith this kirrd of materiàl in lhat Í'hen
I feelcompclledto Pul jt dorvn or vhùtever,I ha\e
to gi\e !LP,in a tvay'rrl,vright to exploreit myself
bccauseI'm nore concernedwith preserltjngit to
other peoplc.And you're hincl of going against
rour o\{n ùusjcal sensibililiesin a rvay,but )rcu're
alsogoing $'ith your ùeed to communicate,whiclr
I f-Ind,as I get oìder and older,more impoltànt'
I think thaaslYhy it is . e'v€been$'orkilrg on
the yoice leadiÌìgthing for so long and it's nol ncw
rnrmore, at lcastfor me certajnly ..and maybelou
hare thc samckind oflèeling too bec:ìùseyou
probabi-vhavcworkcd as nìuch as anyonehas wjth
it for thc longestamourìt of titìe l1'sthe freshness
,rfthe rhythmical thirg for e becausethat's lvhat
l m \lorking on. And what lln finclingout fiom it
vety intereslitrg.
ìi reall,Y
É2íonalThisl
Y- (rn\ \.ail to lìear about your discoveries, but lìrst
ìeis lalk aboul all thjs rnath l wanl lo preface lhis
qìrÈslionb,vplacing it in a historical conlext.It is a
mdtter of recordthat thc Berkleecollege of l\'lusic
iiai lounded aftcr Larry Berk'siììvoh€menlwith
Io'eph SchillingerAnd l know you I'ere there dur
rr: Ìhe earlier)'earswhcn Schiìlinger'swolks
'l he
-'t:tens .ior llusical Conlositian at]rl
il hè. ùtic..lBnsis of theArtslwere still,ì major
::tluence on the curriculum. For thoseof us still
:è.r:hjngar Berklee,ìl is clearlhdl his influencehas
iLnìLnishedover limc Ye! the more I leùrn îbout
::. .L.nnectionof nrusicthrough nìath, the nìore I
:.: he bedùt)'of ìt and tr) to help m,vstudentsto
-:::re;iate this reLationshiP.
\\1rt is lhe .onne.tion for rcu rLitb inathenìat
p_(\(nlin8nìrr'i_
-.' \\:\ rrc \^ u ,n ìnk-c'led in
:: ::1rle.irlin !he .ontextof mathenaticalprinci-
:.es: Ii rr slriitì! ior thoroughnessor do vou also
find beautyin the mathematicalpossibilitìesand
lhe connectionswith nìusic?(lerlàinl,vthe books
are tàking on a look lhat I've heard described.ts
"purely ìnformational" .you kno$" here'sall this
stuff, so do wiîh it whal )'ou will
MG The connectionwith mathemalicsdefìnitely\\as
made through thc Schillingereffcct from being
hcrc in the earl)'1960'swhen I flrst attended
tserkl€e.lt was nuch molc part oI corììposltron'
but thal $'asthe first time I saw tbat and I guess
lhe infornration just wen! to sleepfor a 1\'hilcxnd
didìr't reemcrgeuntil I neededi! Nith this stuff.
Generallyspeaking,nrathematicshtìsbecn use
ful for discovcringncw possibiìilies.If you ìook at
jt, saylvith the four-part chords,,vorivegol 24 por-
sibilities,rvlich is a goodly amount, but not like
ridiculous aswhen you clealwith lìve-palt chords
Ther, il goe! up to l20 Or the orc we got inlo
rvith the 6 rhythmic secdsthal So up to 720 it
can gct cm4r But 24 is a doabìenumtrcr,
t{H Do you think that there may bc somer.hrdànce
on the part ofpoteùtjal rcaders10 get involved
with thisbook because oftheir "lèarof nl,ìth?'
MG For anyonelvho re.ìdsthìs book who hîd b'ìd
a
Problerììs{ith malh€malics,which is Probnblr
lot of people,and who are a Iittle Lìit afraid lhat
they haveto knorv anrl undcrfand aborrl làctori'rl
ì1ùÌbers to gct arìylhingout ofthis book, thdfs
not trllc at ail. SomepeoP]elrla,Yfind it interelting:
I know I do nnd you do, bu! don't be thc lenstl)it
put off about the mathenìaticsof il lt's not .ìbout
l]1athcmàticsiitì îbout the rhylhns. Do -toù haÌe
an)' thoughls aboul that?
MH well, just thdt the nathcìnaticsl|'as the process
usedto.,.
l''1G ...€ome uP \vith possibilitiesaÌìd \rrite thenì do\Ln
so you don't haveto rcmembcr then all ..the)'rc
there in fiont of you.
MH Did you er€r study vcntriloqu;sm?
l'4r.Goodchord Does the lfath
\
Do start\ith this
MH So,24'sthc nìagicnunlber. )ou
ìn your prirate tcachi g?\{hal kind of aPpfor.h
do you lake{ith a stu(lentwho js sccirgthisstuli
for the first tiùle?
MG IfI just take,for inslance,the one rhythm rhar is
the threealtackswithin two beats-the quarter,
ùote and Ìwo eìghlhs,ils reverse(two cighthsand
a quarter),the eighth-quartereighth and the one
that is the eighth rest followedby threeeighth
notes-what I do with my studentsis I write them
on thc board ì, 2, 3 and 4 and say,"Play them jn
ordet one after the other."After that I sày,"O.K.,
now play them with a swing feel."They do rhat,
and then I say'"Now play them in revcrse order,
both straight,ìnd swing---4,lhen 3, then 2, theÍr
l." Then I tell them to rnakeup their own order.
Ancl they usuallytry this a few different ways.
I thcn say,"Supposevou wlite thesedown, post
then up on the wallwhere you practice,înd play
s ilh lhem r bil evervJr). Ar wh.rtpoinl Jrc you
goirìg to sayto you$elf,'Dicl I play that one yester-
day?"'They'll usuallyrespond,"I don't kÌìo\,r',
bccausethey all sound the same."Then why not
1ìgurethem all out and write thenÌ down? So,
that's what I did. Yet,ìt didn't occur to me until
morìthslàter that "Wait a minute! You carìdìsplace
theml" They all sound somewlÌatthe same,but not
renlly,they'rea little bit different.
ÈventuallyI show this to my studentssaying,
"WIìat would happenif you took eachone oI these
two-nìeasurerhythns ànd Ìnoved th€m over by în
eighth-note?Would jt alreadybe contàinedon the
pageor would it be differen!?And most of the
time they th;rk it would be conrainedlvilhin rhe
origirìaÌ24 possibilities.And I say,"Nol They are
different."So,t show thenì the secondpageanclso
on. Finall,v,they seethat there are 96 possibletwo-
measurernythms.
The Other Mother Lode
MH Soyou introduce ihen to the conceprand lhen
lhey are supposedto work on il iù whatever$'ay
makessenseto them. What ha.|€/or louncl from
working with this rhythm material?
l',1G I haven'tspentail that much time pracricingthese
rhlthms myself,becauseI're treenmore concernecl
lvith generatingnew matcrial.But frcnl thc work
that I've done,I lìa\e this fceling,il's like I have
faith thal, if )'ou do work ivith the whole set ir will
havean elTecton you that could be powcrful-
maÌbe drati not the bestrvord for it-thorough, at
least.And the obvious thinS that anybodywho
Norks with it even for a short period oftinìe secs
is that their rhFhmic sight-readingimproves.
It hasto happenbe€ausethere are so manv dif
ferent combinàtionsof on'the-beatand oft-the
beati particularl) iihen \!e take it to the extent of
threeattacksi{irhin t1{obea6, n\'o attacksNirhin
l\io beals,one artack11ithin t\o beati and a flr{ of
the other things,such as tlìe rhythms irl 3/8,5/4,
614àl]d 7la.
Any musician,lvhetlìer they'rebeginningor
advanced,would get sometlìin8from it.I think
realll good players,you know they wouldn't do it
ìn any order,..maÈc they'lljust jump around and
start playing stuff, work où it for 15 minutes and
then inìproviseand seewhat showsup. That
wouìdbc reallyrool. lrdrì \ee rhath.ìppening.
But on the other lÌand, for thosewho haven't
beenplaying for tlìat long, jt would be nice for
them to play thesethingsbecausethen they've
heard thenl. I mean,thereare somerhyùms in
there lhàt are so "left-handed"that I knorv I've
nevcr playedthem...and I'nì not cven surc I've
everheard then before...you know, deperdirg on
tempo dnd all that kind of stufl
Long or Short?
l''1H Ci\rn lhdr thi'booli'rrrtten forrll in\trumenls,
do you haveany jdeasabout plàying through the
material lhat nìay appiy to all readers?
f4G Thatt a very good question.The most obvtous
thing is that most ofthe rhythms iÌì this book
appearÌo be tull duration with the exceptionof
thosein 3/8 that haveresls-Still, evcryoneneedsro
kcep in nind that all the rhythms can either be
playedstaccato,legatoor djffererìtconìbìnationsof
both.
Nevertheless, what peopleare going to do with
thesebooks,I think, will dependon their instru
ment and on what level they are at. I secpeople
$ ho rrc nìoreaJvan.eJ,ho1'efrrìlljusr opcningup
the books,finding somethingintcrestingand then
immediatelystarting to improvise through a st.rn-
ddrd turìe wìtlì tlìat rhythm or whate\€r.Nlaybc
peoplewho haven'tdone loo much of this sorr of
thing will find it interestingto pla)-most or all of
the rhylhms just on one note at a nice slorytemFo.
However,then you think about differenrinsrru-
menls. For exaÌnple,a piano playerplaving one
note through the whole book, this might end up
with teÌìdonìtìsblooming, in which case,this is nor
such a good thing to do.
MH Or evena guitiìrist fretting .r note instcadplaving
aì opcn string...
I
MG Absolutehl Ifa guitarìstwas going ro go rhroùeh
the book this 1!'ar',hc or shemighl \l?nt lo Ìirnir r:
to an open rring, as)ou sJ\',or elen ,ì h.ìrr:on:.-
$here vou donì ha\€ to pressaìl thc rav dosn
MH Sure.no pressureis tfle \a1 ro {Lr.

9<,cron t/ Novelty
FG -ìe.rl- . ..ertainh eveqîne has to aPProachlhese
r.-insi rÈalisticall,!becauseofwhAt I called
-:.'Juction br Noreh,v"in the voice leadingbooks.
li.u remenber. . .that'sivhen somconeplayssomc-
ijng theÌ neverheard before,so the,vgel kind of
<'irre,lnboutit "nd nrrlbe tl clìc nroretmotion
\' inrolvecliD the discoveryprocessthan any-
- of like approachA and approachB; ifyou re inter
rhing else.So,sorrìctinìesthat sort of lakesolcr to
rr( .\rent thdl rhcv-rcrìúl reJllyP r)irrgaÌ'cnI ion
rtl their leveìofdìscolrìfort. l'eopìeslìùuld proba-
bì! s.t tiììe limils when working with this stuff,
.ire.irlh' iìì the beginning
Èt- \.r. rhafs somethingyou mentioncd to me a long
:iÍÈ ago...1think it was about sight-reading
\\ten I tìskedyou about infroving that àrea,,volr
iug€cstedusing a timcr and selting iÎ lo five min-
ules.That way,I would lvork on my sight reîding
lor tì\€ minuteseverydaybut ù'ould neverovcrdo
ir ànd aftera ycarl tiùe...you know,365times5
.quals (hat ùìuch ore lime regularlyrvorking on
:hat skill...slow but coÌìsislent.
Th€ other thing you ment;oncd,awarcness of
-ìerel of discomiort,"thatt sonlethingI $'ent
rhrouelhduring the editing of the voicc lcading
.rooks.Lven lbough I thought I was payiÌìgatten
rron to it, I wìsn't complctelyatvareof ìt all. For
.\anìple, thc type ofchaì I Í'as sitting in ànd its
height l\as affecliúgmy loNer back bttt I rvasmore
:ocusedon nry hands,wristsand arms.I mean,I
h.rdìust typed y6u1*6tds oflvarring abo t that
!.r! rhin8.(ú I ur. hypcr-awrr< ol thc i*ue in n|v
rands, i{rists and ar s. I guessthat'swhy I hadrr't
ùought about lhe restof nìe!
ea I hcrcrou gù.so.)óu sccthal p(ofle drcgoin8Io
hale to takeresponsibilityfor rvhat they do rvher
rrorking lvilh lhìs material.Sinceso much of it can
L.erepetition of the samething over and over
rgain, llìey need to be lvarncd that they haveto bc
.:retul.
:.eî Eighthor SwingFeel?
.,F{
-\Jter\vorking on lhis materialanclgetling past the
iniià1"just playing through it all" pbasc,do you
hr\'e any suggestions about usingthis nìaterialthat
are specificallyfor guitaists?
\es, but I doÌì't reallywanl io get into lhat becausc
-C
of the fact thal thosediscoverjesAte not comPlete
\et and I may want to developthat material$'ilh
mr sludenlsor it lnay evenbeconleanotherbook
at somc point. Also,I think wc should keep this
more gcDericsinceit is written for all instrumenh.
A Conve6ation Between rhe AKho.s
One thing of note, however,is that mosl of lhe
materiaÌthai's in 4/4, in 3/4 or in 6/4 can be Played
eilher $'ith an eveùeighth note fcel or wilh swing,
evenlhoughir. wrill(n '^ lh,rlil dl'l'(dr' in cvcrì
cighths.Of course,ìf ccrtair reddersdon't play
srvjng,then it doesrì'tnìakeany di|ference.They
don't haveto rvorry about that.
Btìt most pcopleshould be awarctlìat it's kind
cstedin bolh feels,whichI think nosr pcoplewill
bc. So,that'svery inrportant to see.
5/4 and 7/8...What?
MH Whilc sonìeof the rh)'thnrsin tlìosemetersyou
mcntion \'\'ill feel"new" to pcopìe,the rcal chal-
lcngemaybe in feelingsomeof the stulfjn 5 and
7...even sonìeofthe rhythms in 6 are tricky lo 8ct
comfortablewith. Do you lÌavcany comnenls
about thesemetersand how readersnight
aPProachtheln?
MG \{ell, as you knor'\',we put the 5/4 and 7/8 mrteri-
rls in more towîrd the erd and it's not meanl to
be any ,herencarly as exhausliveas thc rhytlìms
we includedin 4/4,3/4 or 6/4. Itì morc like an
opportuDity for peopÌelo explorc thoserlrythns if
they wdnl to,
This kirìd ofgoes back to the "FactodalThisl"
topic, if someonegetsthis book and all they've
ever playedis D,A antl tì7 for the prìsl 35 yeàrsand
that'sall they want to do, they lìaveabsoìutelyro
usefor 5/4 nnd 7/8. So,no oùe should feeìary
guìlt at all for coÙtrlelelyskjppirg over that mate-
rial and saying,"'Ihcre are a few pagesI don't have
10do."'l hat'spcrfectìyC).K.Do 't get into tlìirìkirìg
you havea responsibiljq'for learniÌìgthe nath or
thc 5/4 and 7/8 rhylhms just becausethey'rethere.
Où the other hand, peoplcwho alreadyhave
done somework in 5/4 and 7/8 nright bc surprised
thàt the littìe bit that we do give them thcrc is pret
ty good malerial.And lhat'sbecauseit s a colrl
pìctc set,"so Iìn nol surehow many peoPlehave
eventhought of it in that way.
MH So are you thinkimgthat the rhylhms we prescìrt
here are a1lthat are neededto work on"in this
way" or tlo you seebeyond this màlerial into other
nletersand rhythmic possibililies?
1.,1GI thìnk it's I good startiùg set.I nean we could gel
into cxamplesin li and I3, elc-but orhcr books go
into thal in greatdctail,so rve don't need to go
theÌe.This is just ldnd of a "$&jtlnans Sampler"
ofrhythms,I think, that hasa nice crosssectionof
usefulstufi

IYH That's a nice analogy.We havethe Almanàcs,Ììolv
the Whitma sampler'. it all has a nice "down
home" feeìto it
MG LAdjustshis srsPenders..l
TechnicalConside.adons
l'1H Maybc we can talk about how this miìtenal came
about. For my part,l've been teachiÌìgrhythmic
truining classeifor the past fifteen yearsor so and
havellorked with nll levelsof plal'ers - ,vouknow'
rvorkìng in a clcssroomsituationwhere sludents
are of rrrixedability levels.I'vehad to devctoprvays
to keepevelyoneinteÌestedin learningwhile beirg
care not to overwhclmthe beginÌlersor bore lhe
more advancedstudents.So,I needmaterialslhat
lvill help mc accomPlishthis task.
We can talk a bit about how tlis material ay
heLDeduca[ors,bùt frrst,teì] us how this renewed
ìnt;rest in e'xploringrhyîhms develoPedfor you?
MG lhc rvavthat, for mc, it kind of developedand
took priority over the volurne three book, aside
from the boredoìn with thc voice'leadingthing'
rvasiI p.enaringlor thisduo ,oncerlwìth Pat
4 20o2Jr ts(rklce{ ollegeof
lVcrhcnyll-leicrrrLrcr
Musicl.
I 1èltlike I neededto, weìì,I Practiceall the time
anvhow,but I felt as jfI neededto work on it in a
more specificway from the standpointof tr)-ing to
ge! up tbr that bccauseI knerv ltwas gomg to Dea
ieal challenge.Also,I had been out ofthe loop for
pìayingmusic at lhat son of level
And part of it was practicingwilh a Ìnetro
nome,which I do all the lime an)ryaf but tryÙrg
!o qet readvlor let'ssaysoìùemore quÌcKlempos
beiauseof Pat'sprolific technicalprowessAncì'to
m.ke a long story short, the tlìing tha{ I sawor
kind of quefioned was'ifyou'{e lrying to get to
whereyou can play all sixteenthnotesor eighth
noles,or whatever$'ay)'ou re going to wlite lt,
that'ssort of like the uLtinratething-perpct al
nrotion. BÌlt the quefion ù'aslWhat elseis thcre
beforeYou get lo thàt?
In otheriorrls, if I aìreadyhad the four pages
'i{ith the threc àttacks'I've had that for any lrum
ber ofyears now, that'sactuall,vthe bÙsiestone
just
comparedto, $'hal about just one attack,or
nrrc aaacks?Ànd when you seeparticdarly the
variet)'of stuff there is with llvo atta'ks which
nreans1'ou'reonlv plaving half the time;rvoùldn't
that be à rla\. lo help soneone to developa ìarge
rocabulan of rhvthmic stuff that\ nol particuìarlv
phvsicallvchallcngingbut thèt ther''ould flat al 'r
frsl temPo?
As it turns out, from what I see,some oflhe
stuffthat doesn'tirvolve Playingall the time for
examDlethe scedivilh the lour eighth notes'Pcr
peluaì motion-they're hiìrder Actually playing aìl
iour is easierthan solre of theseothcr onesat th€
sametempo when you get pasta certainpoint
fuiother part of the reasonthis interestsurfaced
has lo do with the problems l've facedtreinga fin-
ger-styleelectricguitàr player'lt sholvedup mof
ibviouslyrvhen I tried to play some of thìs nrateri
al fas!,this ùìàde me want to really checkit out;
esDeciallythoserh)'thms that hdvetwo attacks'
whcre,evenif1'ou havea large rhythmic vocabu'
lar6 ttrat might be verv different,but lvoùldn't be
technicallychallcnging.
Evenjust usìngsome of thc rhylhmic seedsand
trying to play thenì at quicker tempos,it becanle
JDDJrclìl lo me $herc lhe Jcfiiiencie'wcrein trlt
L,l.ryirg.so, I'nr | .un t bc lhe onl) "nc l lhinL
'ure
ihnt ior nr p."pl.. oluhat theirirr't'u
' '"g.rrJles'
ent is, are going lo find at à ccrkìn Poinl thal
it faster)mar'
this stuff (especiallywhen p{aying
yield insightsof a lechnicalnature that Perhaps
they hadÌit thought of before.
'fhis could be a really good eye-opener;I know
it certainlYhaslxen for nìe Not just in mv o\{n
work, bur also in helping to teacholherslvho Plà\
in a similar style.For exarnple'althoughwe clon't
warl to focus too much on guitarists,there'sthe
lvhole businessofcoordination betweenthe lelt
and riSht hands-you kno$ how it is that wc
manually do things.
Dynamics-Many of Us Forget
l.4H Yes,coordintrtionseeùsto be a large pàrt of learn
ing rhythm (or anything for that màtter) ln nr)
I asknìy studentsto Practrce
ear traiiing cl.rsses,
rroll
all kinds of rhythnìc coordinationexercises'
of rvhichinvolve showingPulse,thc necessà suL)
division and, ofcourse, the acfualrhythm on toP
of all thàt. Somereaìlystrugglewith thàt Bui
eventuall)'peopleget it ifthey spendthe tìme on it
u'orking slorvlyand thoughtfuìl,v'
l'vc foùtìd thàt this type of rvork givesstudents
grcat insight inlo Pract;ce, Seneral,while specitì-
.,rlrr or, parirrgthcnrlo lugglcall rhe mu'i(Jl el(
r.i.'rrr,ft" wlr,rìthct r( 'iehr redJ'
'..nr-,.ry.
ing. Obviousìygetting the Pitchesand rhlthm is
important,but alsoillustrùtingthatth' suÌìtletjej
like articulation,dlnamics, phraling, ctc reallr
matter.There'scertainll;an elemenl of coordìnÀ
lion in\oivedin Pavingatlentionto lhrt mrnr
Ìhrngsal onae.
s.-l-:Î ::!:'a_
Èlc Sure.rnd lou nenli.red J\r::r:.i
:: ::. -::,_r
)
) A ConversationBetweenthe Authors

)
tend to forget about dynamics?Dependingon the Al this point, it's actuallvnìore íntcrestiùgfor
) Ìne thaìì playing the rhythìns thernselves. The
kind of musicyou plap too, it's like, "Well, cloesit
) to crankuP the vol_ rhythnN are more of an excuse to gct inlo that
go up to I l...or l2?" LPretends
-ume_o,t do)Ìaiù rvhcreI'm payingattenljon to all lhesc lit
) an omp. l Iust as many of us doù't spend
tle detailsand trying to gel them coordìnateil lhc
a lot of iime playing things slolv-I know I don t,
t lÌn guilty of that. .l'm usualll nore concerned riglìt !va)'.
) aboùt the upper end-so d)îamics, too' ottcn get
) lgnoreo,
Too. thereare thc technicalconsideÎations,like:
)
Ho do )-où pìaysoft, if ,vouremenrberto do it? MH Furìnyyou shouìdsaythat. .l've been oslng these
) \\'hat do you acruaììyhaveto do to play soft? rhythms 1()warnì Llp.I've noticcd that thcre are
\\'hat do )'ou haveto change?Are there any other sotnerhythms that I reallvl;ke .1l]alòctheyÌc ju't
) neÍ, to lrle. So,l've starledcircling thoselhrt
lrays ofchangitìg it? So,this getsirto what I see
) as paying more and more atlenlion to det'il in a appealto n1e;not onll so I remenìberthem' bLrt
\d\ lh.rrmJy"c I hrdn r Lrforcrur -ì led\I.irr'1 becauseI want to sceif thc noveìly rvearsoffrnd
)
differcnt $'ay. they reallydo catchmy ear later on Havc,vou
) experiencedtbis as wcll?
I RepeatedNotes: ProblemsÌ MG Definitely,aìthoughtlìere'sanolher aPProàch'too
) One of the things I think peoplenay rurnt to do
HH I spendà lot of tjme practicingthat Playingsoft
) ly. Not only doesthat dynamic levelaPpealto me wilh rhc'c book\.I nì rhinling ol doirrgit
musically,it's also he\red me to notj.e areasof mys€lf.. .anywa)',this is for more inlerm'diate or
)
tensionand alìowedn1ero discoverIa-vs to deaì advanccdphlers: yoù're going through . Pnge k't;
t \rith lhat. I find it's beneficialto stePìrackfrom sayitt lhe "nvo attacks"(96 measuresof l$o
) lhe rvhole"atììle1ìcapproach"to Playingat some JlluLk'J,lhes( lLrrnúul lo Le \crv irìlere'rin8
point; especiallybefole )ou've sufferedany iÌìjury r\thms rnost of whìch you may alreadvknorr'
) And maybeyou seethat, (lhcrc'slike 24 erianìfìcs
and been forcedto stoPPlaYìng
) ThiÍlkin g about the "disclaimerhvarnin g/cau_ per page)!supposeyoì.rscethat therc'rejusl thrce
tion" pagein the voìce-lea ding books, do you have ofthel1l that )úu've neverplayeclbeforc l hen rou
,
aììv connrent on \{'hat to avoid while working with nìight waùt lo take a pencil and Put a litlle .he.k
) next to lhem.
lhe rhythn m.rtelial?
I But, ìt only makessense1<ldo thàl if therere
just a fe$'.Lel's sî)-thereìc ì5 or 20 of thenr lou re
, MG \\t'lÌ probablyhaveto put in a similar pagein this
book, as ell.l guesslve could talk about rePeatcd €omfortablewith, so there'sjusl d f${ that fcel
I nolesiagair, just to llakc surc thal peopledon't "left handcd" or arvkwardiyou kno1!.lìla) l)c lhe\
t hurt lhenìselvesPh,vsically.You knou like a piano makeit so rd likethe t;nrcis lurncd arourìd
'lhen you night want to checktlìosewith Pcn.il
I pla\€r thinknìg he has to go lhrough rhe whole
book as fastas he can $'ith one finger; so,he ends .o \ h(n ) ou Lorncb r. k lo lhdl D.lg<r8 'irr.\ oJ
, ùp in a castor\vhatevcr. .we take no responsibility caù go right to the onesthal arc a bit problcnrali.
for yoÌr. I thiÌìk that t'ould be a uscful tool
I lbr rhat stuff.
I Broken"Tv/o" Feel
I fhe Need for Speed
Ihere'ssomethingelsetoo, and this jusl occùrred
I MH \\t talkedaboul playing softìy.rnd slowly'yet lfc
to me recenth The broken"b{o' feelis sonelhjng
ùafs not goitì€itodo it for ereryone So many,
t especial\'1'oungerplayers'arc dri!en to Playfafer that I first kind oflearned r[.oul,I tlìink lhrough
t and hardet than their bocìiescan handle-rvhether my associationwith Lbàssist'
becausc
StevelS\{allo\!
that\ oneofthc manyth;ngsthùt he doe:
I iher're arvareof it or not How nlàny casesof over
useiniLrriesdo wc seeever,vsemestcrhereat
I B€rklee?I1'sbccomeePidelr1ic.
r
Mv undcrfandingof il is tlìat i1'sesseìrtiaìì\
"b.rssthing." Like at a nrediunì ternPofor lhe
I melody,behind tìre meìodv on lhdfirst choru! nt
tor mvsell this comesup fron lrying to Push lhe
t -C
outer ìillìits of mY own lllayirg, but aÌso from îry least,thc broken "trvo" feeljs a ice oPtion The
a ing to find a s av to larm up qrticklv,rvhich has "tlvo" nìeansvou'rebasicallvpla\'inghùlf otes:

a alnarsbccna problem Thafsoneofthethings

:!ìrl hirlc b€.ome an out.ome of doing this
you'renot walking.which is qu.ìrtcr'nolesThe
''broken" neans lou can do sonleolher stufl too
t rh\:hnl riork. \bu'rc not linìitcdto iust h.rlfnor.i-
t
a

A thing like a dotted quarter and an eighth and
then another one or evenan eiglìth then a dotted
quJrler:thcseJrc dll posiLrilirie'lhingsìike:
ihiikrdee gong' {lhe lripìeleiShlhnore' in à
watking bassline) All thosekinds ofthingsi it's a
vcr! irclri!e sJv of pldyinSa br5sìinc-nol iu\l
I'chindrhe nrclody'l,ut bclìindà 'oloisr'loo
The cool thing about broken "two is that il
doesn'tjust hdveto be a bassline Someonecoultl
solo with the samekind of thing, basicallyjust try
iùg to pìay half-notes.I think lguitarist, Iohnl
Abercrombietalks about this on one ofhis
instructional videos-you haveto play the "right"
notes,so start with whole notes€veÌì,then halves'
q arters...youdon't have lo jump right ln to pLay
ing all eighth notes.
We'rc kind oflaking a similar aPproachby
showir'lglessnotesor attacksnoving toward lhe
eventualperpetualmotion of all eighih-notes-
you know, that"seed"which is four eighth notes
iepeatedendlesslylt would be interestinglvorking
with the examplesin 4/4 where yo\r traveone
allack or two allàcksin one mcasure.A lot ofthat
vocabularywould fit nicely into that broken"hvo"
feel.
Imagine two peopleplayirlg togetherand sort of
swapPing,let'ssayhvo guitar Playcrs,and they re
botú phying rvith this fcel,but one'sPlayjngin thc
upper rcgisterand one is P{ayingrhe bnssline and
they switch everychorus,or somethinglike thît'
'Ihis would be a red interestirg areato checKout
with some of tlÌeserhYthms
Points of Departure
MH Earlier)'ou said that onceyoll've worked on these
rh!1hnls to rì point rvhercthey'vetrecomeinternal
ized or at leasiyou didi't haveto think about
them, you couìd play them and notice other thirìgs
about yourselfwhile you wcre doing thenl )'our
righl hand, lhe connectionbelweenhands,tcn
sión, etc.Is tbere anything elseyou'venoticed
lhat'sworth mentioning?Do you seeanother
approachto playing thesethàt would be ofvalue
to rcaders?
l.4G Wcll. verv much like the voice leadingbooks,I see
them as sort ofa springboard ln other words, if
I'm working with a Particularsel and I'm looking
.rl il mùreirom lhc ndlìdpoinlúl iu\l gelling
warmed uP and comfortablelvith my hands,when
I feel as if I've kind of reachedlhat point, then
what I'll do is start improvising on a tune, or
blues,or maybeevenjust a modal v'ìmP whìlc tll'-
ing to incorPoiìte some of the matcriàì-
'lhat I find ver.vinteresÎingand' as I've said' for
peode Nho are àìreidr intermedjateor advanced
players,this is somelhingthey'll be able to do
immediatelywith this materiaì.
Anothel thing miSht be to lake a pàrticular
rhyúnìic "seed"and force yourself to Playi 'ìll rhe
way through a tlrÌìe.Thdt coùld sometimesbe bo''
ing, but still it's a skill. For instance,ifyou take
"clang-cìanga'dang-danga"-you know, the swing
dde cymbal beat-and the inverseride, 'dangr-
dang drnga dang'and 'ry thai' allJ-m8ùrngto
plar; I rneanI don'l havelo pldyil all lhe limc' I
ioul,l leavespaces,too...but' I'm going io try and
featurethat as much as I can through a tune'
These,I think, are real intercstiÌìgusesfor the
malerial in this book
KeepinsTrack
MH Having pracliced theserhythms in a variety of
orclers,including the presentatìorìof eachoriSinai
rhythm first follorvedby its permutationsor drs-
placenents,l've found that it is a very different
erncrien.cfrom ployinglhc maleriJlin your sug-
geited order o[all the originat rhythms first fol
l,orvedby eachset of disPlacedrhythms, especialh
where the tied rhythms are groupedtogether'But
'weboth know that putling all the displaced
rhylhnÌs in tbis book getsout ofhand it's iust
too much and not leallYnecessar,v.
Still, when coÌìfrontedwith the vast amount of
informîtion Presentedin lhis rhythn book (and
the voiceìeadìngvolunes),wol d it be fair to saÍ
that one ofyour molives iù writing then is to helP
studenlsrealizethat they'reoften only practicing
'\oùe of the stufi" In other words' to supPlythe
whole pictùre to thoselvho may not realizeit
existsand may fìrd their Practicingfeelsiikc being
a hîmster in the excrcisewheel?
MG Yes.Absoìutely.I think thît's what haPpensfor a
lot of us.And thit's lvhy it wlts important to go to
the trouble ofwriting them all out.You know,
dealingNith 35,000possibilitiesis over the top, \{e
ilon't havethat much papet but 6 or even24 is
doable.So,yeah,let'shavethenì thereso rvecan
kcep track ofwhat we Practice
BenefìtsPackage(432lk)
l4H I've noticed a number of things lvorkiììg t{ith lhis
material myseifand one ofthem is thtrl it also
cìealsrvìth improving 1'oursi8h, reading'is \îu
mentioned earlier.I evclì inragínethat bcginntngl
sight reacìerswould get a lot out of\rorking rtìlh
thoserhythnìs \vith ft$er àttacksas jl meansro
hclp them internalizesLrbdivision especiaìì'ii
lhe! $ork al real slorstenìPos.

wG I think, too, the thing about the readinSconìcs
ftonì being a guilarist and dealinglvilh guilar stu-
denls.Becauscevensomeguitaristst'ho arc vely
eood players,iÌì terms of inìProvìsing'nlay nol
ìcad asu'elì as someoncwho's been playirrgsaxo
fhone fot saysix months So,il's a concern'
I \\'asnol prima ly concerlìedfor it àsbcìng an
aid to in,lProvesight readirg, but ùorc 1òrdevcl-
oping an enla(ged,enharcedrhythmjcal sense.
.llmost in a sublini'ràl $'ay.. in other words like,
Nhen ,vouwork wilh this stuff, in the santeway as
the voice leadiùgstuff, clont tr-vlo memorizeit
\lalbe ifyou Playit and repeatit a few times and
\îu do happento remcmberit and you don't have
Ìo look at it and you c.ìnjust hear it, then n]aÈe
r_oucould start rvith doiÌ19it just on one nole' two
notes,an arpeggio,maybea scale..could be any-
thing lîù rsant it 10bc, evenimprovise ith it,
thàfs fine...justdon'tthink"I haveto remembcr
this lonìorrow."Iust let it kind ofgo in thereand
ree\!hàt ìt does.
And I have,asI've said,this faith that' because
ìtì mathelraticsand so much of$'hdt we do in lifc
and h'hat {'e've learnedabout everythinfiin life oÌì
the planel and iÌì lhe universeseemsto be basccl
on mathematics-I mean you can lell whcn the
next ecl\)seis in Novembel or whatever'so ll cant
be harmfuì-it's got to be benign' Particularìyif, as
lou sa),yolr'renot sPinnitg yoÌlr wheelsdoillg the
samefour or fir'e possibilitiesand can't seeàny_
thingclse.
The other dark sidc of th;s is that sometimcs
peoplereact the sîme ay they do to just mathe
nìatics-which is thcy're scaredYou kiìow' it's like
''lhais too much" or "I cdo't rcnìemberthal." In
r.hich case,lheol1lything I could sayis let'sforget
about the materialand talk about what yodre feeì-
ìng...nol that I'm cven quaìifiedto t.lk ,bout lhat.
Yetfo Gnomes and the Ocrave ofTime'
I\e spenl a number of l'cars'here at Berklcc,
-d
Ìea.hing sonrcvery rudiììentary things to help
inrroducestudentsto nlusic literacy,including
uiing a metrononreas one Nay to helPdeveloP
iteady tillìe or evento learn to ness with lhe till1e
a brt. I know thal )'ou useonc iù your praclicefbr
.ertain things.Whal suggestìons or irsights dbout
metronomesdo )-ou have for readers?
.+3 I rhìnk ir's k'nd of like the math thilg; having all
the possibiliticsis belter tlÌan |ot knowlng that
rouìe practicingthe sanrething, suchas lcmPo'
Lr\erarrd oYeragain.lf à Persoùdoesnot exdore
remposr'ìth a nelronorrre,though maybesollle
p.aple do it better or nrore thoroughlYthaD oth
A ConversationBetweenthe Authors
ers,at the vcry leasl,there'sproìrablya lot that just
Non't occur to her oÌ him.
\\4ìereasifyou havethe machineaììd they'rc rll
there...n'cil,it's kind of likc leaming to pla)' in aìì
twclvekeyswhich is a good thirg to do' too. I
thiik il's real jnìPortant for Peoplero undcrstand
thc busi,ressofwÌr.t I cdll the "oclaveof tilne"-
$'hjch is like rvhatwe nornì.ìlly call doublc-tìlne or
lìall lime.
let\ \ì) rhdlyou rc nrJ.li. ing 'orrìelhingu:irrg
a melronome sct at 72 beatsper rninute (bPm).
Gradr.rally, you work 1rcurway up in jncreù1ents
until you reàch144bprr,lvhich is doublc-tiùlei or
eventhe other way aroulìd, going from a faster
lenìpo to its haìf{ime feel You ll rìolicethàt lhe
Iwo tempos"fccl the same,"like you'vebecìì there
before.
Now on the old pendulùm_stylemelronomes
thal went from 40-208 bPm, if ,vounolice' drere
are 16 lempo arkiììgsbetweeneachtìÌl1eoctave.
Thal's l{hy I call it an oct.ve. Becauseaswilh
pitch, you kno$',tlìere arc o y tNclvenoteswitlìin
an octave,ard there are similarly lhesel6 stefs
betneen tiù1eoctaves.Plusthe fuequencres
bel$'ecnpitch octaves,suclì ùsA 440h2'A 220h2'
.ì sìlrlilar relation as the
-A 1Ì0h2,A 55h2,share
octaves of tiùe, as with 55 bpm, 110bpm' 220
bpnÌ, etc.
Witlì the adventof the ne$'digital metronoDles,
however,thc whole lalout haschanged Nor! morl
metronomesspan from 30-250 bpnr' or sonethrng
like that. Also, dìcy Progrcssiù ìncrcmerls ofone
So,now l'll suggestlhat nìy sludcnts$'ork in
ln\rcrnc l\ ol l0 0lì lhc ncw mclr^no
way to organizetheir apProach.
The nrain idea is that, ifyou really\Lant to
beconrecomfortablewithin the entire lànge of the
melrononìe,you nccd to spcììdan equalamount
of tìme al àìl tcnìpos.Of course,$ithin a
metrorol]1e,there'sa i!'holebunch of possibilìtiesr
dìthoughthereareiì't ds Inany as you think thcrc
are when you considerthe oclavefactor.So YotL
(ould ùrgdniTc ir. dr $ ilh lh( "nìcrros$ccl' Ii8(
which is just one examPlethat I give to my fu
denls rvho don ! bavenìuch time to practice.[sec
l l
^ppendix
MH \{4ren do /0, usea netronorììe?W}cn do )ou nor
useone and Nhy?Ìs the emphasizedbeal (hiSher
pitched click) lhat showsbeiìt one on a
netrononìc, ìet'ssayin sonle odd neter, some
thing 1'oufìnd helpful to pracliceregblvingPhrase,
movìrg the tinle, etc.?
l4G Personalli',the \!a,\'l usethc ìÌelronome is nuch
ùore lhc \\'hole rangeof, at lcaf, rn oci.r\e |)1tinìc
and evenmort'thrn that ererr timc I Pr.ìatlac
 not jlrst like three or foBr tempos.But again,
evcryonehasa different sort ofapproach to it. So,
to me it's like: "Why would you not take àdvantage
ofthe f.ct dìat it's there?"
I think, too, in nÌy own case,the way things
haveturned oul; ['ve spent much oìore time asa
sidenranthan a leader.Way more...like 95oloofthe
linìe. In which case,you don't caìl the tempos;you
play the tempos lhat the ìeadercalls.And I've actu-
ally studiedit.
IfI listen to a CD t did with lsaxophonist,
ferryl Bergonziand a CD I did with lbassist,Stevcl
Swaìlow,the tempos are very different irì terms of
what areathe octaveis. So, part ofit has beer that,
too.You need ro be able to play all rhesetempos
becausethey'regoing to come up.
l'1H \\hen you did look at your playing as a sideman
on recordingswith other leaders,you sayyou've
noticed their preferencesfor certain tempos.f)id
you also discoveror notice thirgs that you hadn'r
thought of or worked on?
MG What you seeis that you havewaysofkind of
dcalingwith cre11thing.Ycttertairrone: l ou rc
only using six out ofeight cylinders,so to speak.
Or therc'sstuffyolr could do à bit better.You see
where you havetìttle gaps,but generallyyousee
tlìat, at this pojit,I can kìnd ofdedl. It nìay not be
hlìal I'd like to do, but at leastI can sort of func
tion respectabhat ìe.sl for Ìnaybea chorus or
two...sonething likc that, you know.
t,1H Do )-oufeel that a reàl measureofpeople's ability
is how theyplay"in time?"
MG lhat's certainlyone ofthe tlìings you want to be
able to do.You mentionedî greatpoint before
though:"What about'lnovirìg it'?" Absolutely!The
thing is though: Ho$'are you going ro learn to do
that ifyou don't havea metronome to delibcrately
messwith the time?
So,the lvay I do it in my lessonsand labs is I
alwaysmakestuderltsplay lvith a melronolne.Thc
other thing that does is get them to plà).
soflly...you know, to hear the netronome. And
l'm screamingat them all the time: "You'replaying
too loud, I can't hear the beatl"
ThaCsso( ofqrhrt the disciplineis and, sure
cnough,by tlìe end ofthe semesterrhey'vclcarned
how to play soft and how to not turn the time
around. One of the rext stepswould be,"O.K. Ler's
deliberatelvturn the time arouml and seewhal
lhat feelslìke."So,tou start by sa,ving,
"O.K. Let's
piav aheadofthe beatand see1t'hatthat feelslikc.
Lefs plat behind and checkthàt out. Htrverou
ever heardiinvoneplav behind the bedt?'Th.r
might say,"Yeah.Tenorplayersback in the forties
and fifties."
And I'll say,"They deliberatelydid thar because
it sort oí createdthis Dicekind ofrhythmic ten-
sion. Novr,the rhythm seclionhad to kind oflike
ignore it becauseotherwiseit wouìd just slow
dowÌì ùc whole band. Ther you wouldn't have
lhat effect."So,they seethe Ììeedofthat and say,
''Yeah,I can pmctice that with a metronome."
DelayedRevelation
MG Let'ssay$,e'replaying somethingfast,like sjx-
teenth-notes,with the click: one group can play
aheador speedup aÌìd tlìe olher can play behind
or slow down, but it's go;ng to averageout and
sound probably the lvay {pianistl Keith Ilallett]
plays.
BecàuseKeith, hc pìayspretly fastand while a
lot ofìt ìs pefect, a lot ofthe stuffthar swjngsis
not the same-it's alÌ different.There are àll these
tiny little things...irt likc, thnCsa ìjrlle ahead,and
tlìat'sbehind...
I must havc told you the time I sawhim...you
knoq we were at school togetherand were kind of
closefor a lìttle bit. I'd go over to his placeard
we'd play once in a while. So,you know, nc moveo
to NewYork, tìme passcd,and I hadnt seenhim in
probatrlyfive,six or severìycars.And I $'aswith
Gnry (Burton) playing a concertin Philadelphja
and Keith was there,I thirìk he was gojng ro be
playing with his band or playing solo.We had just
finished the recording"New QuàrleC'that had his
tune"Coral"on it...
So,he saysto me, "That wlìs reallya nice solo
you pÌayedon 'Coral'."
I said,"Thanks and that's a greattùne you
Alìd hc said,"You'realì adagiopcrson."
I said,"What's that?"
He saitl,"\\rell you know thereare differenr
tempos,lìke allegro,prefo, etc."(Which I didn'r
evenknow bîck thcn...I mean,l hearorne names.
but I did.'t know necessarilywhere they were.)
So he contirued, "YouÌe an adagiopcr$n.
'lhat. rvhcrcvouÌe mo\r Lornt^rl,rhlc.
I said,"Ho\\' do you know that?"
He said,"BecauseI'm one, too."
Arcl I didn't reallythink nuch of it bur, sure
cìrough,yearslarer rvhenI'm getting inlo reailr
detaiìedwork with thc nìctrononte,l noricedthai
adagiois like69, 72.And that is threerí'mposlor
me: thatjs kind ofa \\'alkingballadIturnson the
clickljit'sa mediumswingIsnapslìngerion ba.k
beats\\'ith .li.k as tro and lbur : and that it frenr
Íìuah the top oiirhere nì\'!L\ieettì,nLrtÈi ar.-

5o, thereseemsto be somerhingto it. It may
ìust lre the power ofsuggestion.Or it mxy be thàt
leopìe hayedifferent aredsthat they are very conì
fortatrlein and that'sreallygood to know. |ro a
negatìvestandpoirt, vou ù'aDtto know the areas
)ou'Ìe lhe Íeakest in. I know for me, wilhirì orìe or
nro ciicksofthe sametempo,I will haveexaclly
the oppositeexperienceìfI'm lrying lo pltìy with a
srvingfecl or rvith an evcn cìghth-notefecl.
Ifs like: 'At this one, I can play swing real good,
but I carì'tplay eveneighth notesto savemy life.
-Lnd$ilhin two clicksone way or the otlìer, itì
exactlythe opposite."And Iìn surethat thcrc are
so many issueslike that that IVIRY inusicjan has,
dependingon their instrumclrt and their lech-
nique,that they would Deverreallybc able to find
unlesstlìeI realÌydid systenraticrvork Í,ith a
metronone. I think if)îu want t{r be a Llayerand
speakthe ìanguageof lemposwith good musi-
cians,you need to reaÌlystudy it well.
_lhis
YG businessabout playirg wjrhout a nrctrononìe,
I do thatwhcn I'nì lettingmyselfjoslkind ofcom-
pose,you know,jusl explorc stuf[ Or iust deliber'
alely try to play somethjDgthat docsn't seemto
ha\e a teÌnpo to it.
YH Do }'ou rcin thrÌt in? In yollr ow practice,is that
s.heduled?Or doesthdt kind olexploration just
happenbecauseyou fèellike that's the drirg to do
',îG l'eah,it's more like lhàl.
YH So,\'ou don't s.y like: "lbda)' Iìn gonìg to do this."
\bu don't force it on yourself...youjust let it
evoìrc.rvhi.h m. l<r '<n'e...it . nroreorgani..
YG \talì...and it's basedjust oì whereyour rntcrestrs.
Sonletinìesyou work with a netrononìe and
You'reworking really hard and sometìmes,yodre
iust tìrcd of ìt and you needa break.ì\,fa,vbeyou
come back to f ìn five or ten or fifteen nìinutcs...
H't \bu iust go and fecd the pigeons...ordo some-
thing else...?Ìe Ailrdr.iiry Orni tholaglst.
Seff'Teeching
Èlt -\s \€ discussthis rhythm îterial,I'm thìnkìng of
.ourse from a praclicirg perspectivcbccauseI
rhink r lot ofpeoplc lvill usethis in lheir pra(tice
e\?n rhough it's not presenledàs a nìethodolog)'.
A Conversationgeeveen the Authors
\\cìì. ir'\ rhcirn,clhodology.
Lrcrr prrs,'nsge'ng
to haveto figure oul his oi her olvn kind ofpath.
I\l glad you brought that up. Basedon 1'ourfirst
book and the oneswe\,e done lopiether,thcre
secnìsto be lhis pattern $'hich js tbat,vou don'l
likc to tell peoplewhat to tìo. In thc past,you've
cr.plairedthis as nol wanting îo iDtcrfcre$'ith lhe
chancefor self-discovery.Itseemsthat this rhythm
book and the voice leadingbooks arc cvcn more
gcaredtoward self directedsiudy than perhaps
your Iìrst book, Iùe /1dldnclngCritdrist U4ìat is
so important for you about self teaching?
Part ofthc rcasonÍrlìy ihat seemsto be rny st,vleis:
peoplehaveto rovide their own lìethod---rach
person. lo sLìggesl lhal one approachncces
^nd
saril).fits alì; I don't think thafs right.
t think also,as time has gone on,I havedevel-
oped more and Ínorc faiih in peoples'abilityto
fìgure lhings out for thcmsclves. Yet,a lot of the
time, they don't havethat faith becausejf thel
come lo a school or thcy study with tou thel rre
kind ofsaying up front, "I don'1know Nh:ìt to do
\vilÌìlhi..lulf...l ll p.r))ou rroncylo tell Ire.
Ancl whî1 l'ù sayiiìgis:"Thanl<sfor your mono,
but you cirn figure this out. Let'scxpìorethis a
bf..."
It's a way ofteaching, il's part ofmy personaÌirr.
and it's sonìethingI'\,e been doing for n long
time...sort of an approdch.I think it says,in a
nonverbalrvay,"You can do this."It you harc a
problem bcing overwhelmedby the possìbilitìes,
you're thirkirìg too much. lìn saying,lou can
practiccthis stuffalmosl mindlesslyand it u'ill still
be beneficial.
.\'ìd it \ nol b(Lar\eùf ) orrr thiîlirìg: irì
becauseof the fact that peoplc lcarn horv to plal
music becausethey ha!€ differcnt kinds of inte|ì
genceilike rvhat StevcnHarrison lnlks about ìn his
uitings [i.e., Get.rrg to \l'herc yo *e, The Ilapl.t
Cftildl. All kinds of intelligenccritt not just lhirk
ing.it not iu't rcrl'al ur)dcr'lrnJing.ir\ nol iu.l
'
Inrrhclìì.rlir,rl. I lrcr(\ tJLtilc,l'nc,theri., trnnlìolì-
al, ctc., and wayslhat no one'scven idenlified
1'et...and$e all bavcthat. So,"You can do thìs."11
sort of hopefullycomesfroùr that perspective.
I thirlk if Iìn successfùlwith r{hcre I'm going in
pr.r licrngrhi, rhyrhrn(trrfta J rhar lr, ,n,r. r g
me about iny oit'n technicalinadequacicsand ho\!
to sort ofcorrectrhose...)rcu know,gerting
through the warnr up thing, so it doesn'lt4c mc
threeand à half hours to gct conrforllìblejthcrc
mà) be sonrcthingin the future tlìal r{ill Lrea lol
rloscr to very specificthings aboul like, \!h,rt rrc
 the options ofhow you useyour fingerson the
strings,lelì hand to rìght hand coordiÍìation,that
willbe a loi more specificonce I gct it together
ùìyself...alìdI'm not thereyet.
GettinS to Where YouAre (Doint)
l',1H ln light ofthese recentbooks,it seemsthat much
ofthe work vou're dojng on the instrument now is
not only about self-improvement,but alsoabout
improving communication betweenplayers.ln
essence,learning to connnunicatein "their lan-
Sudge \eems lo be d nìolitilor lor ìc.ìrning.
Thìs ;s an interestingway to think about slruc
luring ) our prd\li(c. or ìookingat lour or n rnu.i-
cal grorvth;as opposedto feelingovenvhelmedby
tryiÌrg to do too much or evenbecomingstagnated
by the wealth ofchoices availableto us.Asking the
question,"Irlow can I communicatebetter with the
peopleI playrvith?" is very different th.ìn just
focusingon oneseìfandorìe'sown strengthsand
weaknesses. Seeingourselvesin relation to others is
mole the point ìn music.
MG lt's that for sure.But, in addition, this whole idea
of discipline.. .like LStevenlHarrison talks about:
"It's one thing to get $meone to do someùing
they clon'twant to do. But, it\ ànother thing when
sonreonehasto do somethingthat tbeylyant to do
that'shard."And thaaswhat this is.
Try NotTo Learn
MH You hnd said,at the end ofthe voiceìeading book
text,somethingfo the effed that"this Ìnaterialhas
a life of it's own."Are you saying,sinceour presen-
tation ofthe rhythn is very sinìilar-in terms of
all thc permutations,etc.,you know, rve'vefigured
everlthing out with the ath, now you go ahead
and work with this materialas a sprirìgboardinto
( rcrling) our o$ n aplroa.h to itt or cvcn.ju,r
practicethis stufflvithout trying to learn ìt-that
all the instruclions hold true in voiccleading as
they do rvilh this rhythm materiîl?
MG What instructions?
MH I mean the little bit that yoLr'vesaid...
MG I betieveso.I believeit's very much lhe same.Like
the businessabout not having to think that you
ha\€ to learn or eventry to learn it reallyapplies
and that l'ou're mìrch better offgoing through thìs
stuff mindlesd\'.Ofcourse, there hasto be a cer-
tain amount ofrepetition until \rcu rememberit.
But, \lat rou do \{ith it, that'sa r{hole other
tn'ng.
In fact, I still think "trying not to learn it" is the
way to go. So that, every time you go through the
rhythms, even ifyou did thenr a weekago or even
yesterday, you can kind of hear them freshagain.
I think, too, that rvhat this doesis-maÈe even
in a more obviousway than the vojce leading
books it fills in gapsfor people,becauseof the
fact that the numbersare done and th€ scb arc
complete.I[you just takethe rhyrhms that I would
write on lhe board for my studcntsand mjx them
up al random;after a certainpoirìt, you can't
remember,"llid I play that one aheady?"or "Did I
play that yesterday?"
But, when they'rewritten out and lhey'reright
there front ofyou, you don't haveto worry about
that. You just play them and you can absorbthcm
on an Lrnconscious level.It's like somepeople,
without going into a long story (although I could),
hear much better when they're not reallypaying
attention.
In other words, itt like how somepeoplecome
up to you, aftcr yo ve played"ShadowOfYour
Smilc',".nd requestit wheÌì you're done.It really
got in lheir head,but maybethel werc having a
conversationwith the barterder.
So,peopleshould takea very Ìelaxedapproach
to this kind ofthing. And again,wheù you have
filled in lhe gaps-I mean,with all thesedifferenl
rhythms yo ve playedon so many dilferent com-
binations ofnotes that are on the beat and off the
beal, and tied or not-when you fill in that set,it's
like you havethe completeset ofthe tlncl.loleilid
Britatúi.a, insre d ofhaving letters"M" and "D"
missing,or somcthing like thàt.
For All lnstruments
MH Is thereany other "bigSerpicture" Ìhing thal per
haps woultì reachalì levelsof playersinteresledìn
working with this nraterialnnd that youd Ìike lo
share?
l'1G I think again,"for all instruments,"to tn to fo.us
on that. If someonehas problemslike thes donì
know what an cighth-note is or somelhinglike
that, cerîainlythey can't do an,vlhingi(ith the
books...yet.But, they could go to a tea.her and
learn rvhat an eighth-noteisi so, it\ not like ir's
complelelyout of the questionthat thev.ould
-..
the books.But, thereare basi., fundamentil 'ùrnas
that the,r'll haveto be able to do.
Havìng said that lhoùgh, r Fersonmllie drle!-
n't haÍe anr impro!;int skilli but ù.r'!. !ÈÈ.
Flavinp marbe sL\ monlh. or .o JnJ Lìkl .à- ;..r'
note\ .ome rh!1hm:rnd mart't rc,-c-.:r ':.r ::
lhar: I think ir \ould h€ z 9,.{ì: :Lr:r; :.- :rr,c -=
a little bir ot:i:x. s.-::ri :L-Lìji :_,è:i <.À
-i

Therc are sucha rvitle v:ìrjetyof rh)'tiìùs lhat a
lol of pcoplehavc neverplayed,so havingheard
oneselfpl.ry theserhythnìs can't l)e anylhing but a
good thing.
As we Live and Breathe
So,it doevr't matter what levelyou're at as a Play
er; lhere'sthis ideathal, and this seemsto be an
uherior motive ofyours, ma)òe not a motive, bul
certainlysomethingyotive noticed in your own
plaving,regardìess of lhe levelyou'rc at, you just
go tlìrough this material,jusl listen and feel that
roù rc 8<llingrìu\Ll( nìc,lìor)worl. il'' P,(lling
into,rour brain somehow,into youl vocabulary
ànd maybeit'll get theresoo[er if)'ou dodt work
so hard at it or don't lry ejthcr,which ìs a strong
statementto make.
lbu know, jtì somelhingthat, when I wasyoungcr
as a pla,rerand a leacher,ifanyone had said any_
thing l;ke that, I would'vebeenviolently oPposed
to il; thinking, "No, it's gol to bc hard lvork- You've
got to be payjngatterlìon to everythingall the
rime and reallytry to learn this stuffl" That lYasà
ìot of úe $'ay I $'asnlotivated.
\uw I under\l.rnd wh) llrdtic Jnd I re.rìi7c'
jn nranycases,il work for a wlìile, yel it's not
ahraysthe most efficicnt îpproach thdl a person
could lake.Also, now I lravemuch more faith with
rhis nìaterjalànd lvith peoples'abililyto learnj
peoplecan leain things and not evenknow hoN
the,vcloit.
llere we'rc sittiÍrgand talking about this stuff
Nhiìc, at the sàmetime, we're Srolvingour hait
and digestingour food, the heart js beatirìg,\ve'rc
breathingand all like thot, w;thout eventhinking
Jbúurir. :o. I ha\( n nrc ldrlhr\ rirn( goeton in
peoples'abilityto lcarn stuff, parti€ularlyif thcire
presentedrvilh completesetsof possibiljtìcs
Tliîkint Outsidethe Books
T\o other things to talk about: ihe thing I men-
rìoned about chorcographersànd darìcersgetting
inlerestedin this sluffand, also,teachinglhis
nìaleriùl jn a classrooir.For edùcators$'ho n'uy
sant to use lhis book,I'm $'onderingif you lìave
àn\1hingto savto thcnì about this nlitelial.
Y 3 leah...l uould nercr haveeventhoughl about the
.rrnrerthing.I canseethat though.
Sure.in an inrprovisational dancesettingor even
in a nìore lradìtional setting,lhcsc
rehearsal
rh\Ìhms.lÈingthat ther'Ìc'1hecomplcteset;
,.uld pro\ iJe a grcatfoundrtionfor learning
A ConversationBetweenthe Authors
movemcnt.Thal's certainlysomethingI've been
trling to gel acrossto my students:youcan't rcally
leirn rhythm sitt;ng in a classroonì..il's.bout
movemelt and florv.
MG What would ),o suggestto other educatorsabout
this material in the classroom?
MH \4/ell,I'nì using this matcrial in nìy Rhythmic Ear
'liaining classthis fall. Siùceso nrany stùdentstakc
this electil'eto improl'c areasin thcir rhythm, such
as sight-reacling, we'll start eachclassNith d fei{
minutcs of reùdingfrom thesePagcs.You knoÍ', its
a sixtecn-weekcoursc,so I'll divjdc the ùlaterialuP
to make surewe go through all of it.
I've en€ouragedstudenlsto usethis naterial
rvithout feelingas if they have to go through it in
any parti.uhr order.Of corìne,there'scerliìirly
logic to our presentalion,but 1lìeyshouldn't feel
limìted by tlìat. Jfyou'rc someonewlÌoseinlerestrs
exploring rlrythms in 5, then, by all nìeans,8o
immecliatelyro thosepagesarrd start work; 8.
hì fact, one oftlìe things u'c discoveredabout
the 5/4 rhythms in classthis se1nester is that, if
you havelitlle exfcrierìcein 5, it is eosjerto work
on thenr in a different order from what we'r'e
presentcd.The rhl'thmic seedsjn 5 are Presented
in order ofsmtrllcf to lafgef quantity; stàrtswith
one ciglìtlÌ Dote,thcn rwo eighths(or quarier-
This nlednsthat the rhyúmìc permutationsiÌl
5 aìì stîrt wilh syncopatedrhythnrs,you kno$',
cighth note foììowedby quartù or dotled quarter
which, for studentsnew to it, could make it cliflì
cult to feel.Whereas,ifyou start rvith those
rhyúms beginring rith a half-note,the fourth
seed,and work "backwards"through the first ll{o
colùmnsof rlìythms,lhcn playing Lhescrhyth s is
ceÍtainlyeasier.
Onc olher rhing tlìat we discovcredlogether
about working in 5; it is much casiello copewith
theserhythms $'hcn they'reinitially "felt" or
"counted" on the eighth note level.for examPle,
the rhythnì ùat ìs ejghth-n()1e, quartcr-note,dof
ted quaÍer-note,followedby a half note(l 234)'
can be practicedwith a ùrelrono e setat an
ciglìth no!e click, say206 bpùì-..Prelly fast for
beginncrsjn 5. Studcntscaùjust count the value of
eachrhythm bàsedon the lìunber of cighth notes
each"seed"is $'orth. So,that rhythm in farticular
wouldbc countedas:I, I (2), I (2 3), I (2 3 4), as
if it were in 10/8.They tend to feel that imnìedì
ately,without too much trouble
No$', ifyou ad<studeùtsillsteadto counl this in
5/4 or cven to conduct in 5/4 whjle singiÌrgthe
rhythms,they osu.ìllyfind rhìs much nrcre djffi-
cull to do. \\'lv is that?Ofcoursc, lhc-! re trling l.'
keepthe"one"ìn mìnd and,so,arefeelingtwo
thingsat onceithe meterand lhe rhythms,howev-
er slnrcopated theymìghtbe.Now,ifyou askthem
ro do thisrel.rtivelydifficulrri5kdrercourìring
and feelingthe rh)'thmson theeighlhnotelevel,
asdescribed, theyhavelessdifficultywith it. This
is whereit getsinteresting for me asthe teacher,
because the questions just startflo\r',ing.
And I rn sur(que\lion.will .omcup Érom.im-
ply goilg throughall thismaterial.WhenI asknìy
fudents,"Do you noticeanything?" or "Do you
haveany questions about what we've just done?"
mostly,theyjuststarclìkedeercaughtin the head-
lights,whichis understandable with thevoice
leadingmaterial...itcanhàvethat effect.
But I noticeif I don'taskquestions and,for
example, wej st singthevoice-leading, or play
throughthe rh)'thms,with just a bit ofguidance
from me,questjons oftenarise.So,in a way,it's an
extension ofwhat you'resaying,"Youjust do it and
don t think aboutit so much."
MG Justseewhereit goes...phythecbords,seewhere
that leads;pÌaythe rhythnìs,seewherethat leads.
ThaCsthe inportant thing,not figuringout the
math or undentandingwhatM.S.R.Pmeans.We
did tharalready,it'sdonel
f..tH Wow!Checkit out, Mick!Wetalkedfor exactly74
minutesand4 secondsl Thesemini-discsareonly
aboul74Ininule'ìonglI hda(prettyBoodliming.
I'd like ro be ableto saythatworkingon th€se
rhythmshelpedour time that much...bìrtI know
better.At leastthisinterviewshouLdgiveus som€
usablenìaterialfor thebook.
MG Sure,Ithink we covered
mosteverything.liust
don'twantto haveto lìstento it again.
t,1H Ofcoursenot...we'llaskMr Goodchordto
t}?e it.
faclorial
RHYTHM
 SEEDRHYTHMSFOR'96 PLUS"

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a, 1l 'll'J-J nll

SEEDRHYTHMSFOR"9ó PLUS" (melodic)

One Attack Two Attacks ThreeAttacks

' l l ,J tl ' ll'J. \

1l ' ll'J n{l
'll' .lr J-_jll 'll,) ). 1l 'll,J-J J{l
'll-_J J-;ll 'll,J 'll 'll' .fr ) )ll
tll'J. )11 r.ll. x
ll' . ll J
I
.f 1l .ll,J-l J-:._.il
'll,
ttaa J1l Fo{rA|f2ds
-]
'll,J r; ll 'il r-J n ìl
Sl|()RÍ FORll (3 attacks)

Sccd Rbnhms

'll'J r-l { 'll,f-: .l 1l 'll'.ltJ .f 1l .ll,J-:J-:,ll

Il2 l

ll,JJ: J: J ,ll ll,_.tJ

irrr:ll
ll 3 l

ll'J .r: )J ),ll ll,_J

r r:ll:ll
ll 4 l

ll'r J:_"rf.f:,ll l,'-Jl. ,rf:_ll

123)

ll'J: J )J .f,ll ll'J I J-J-JI,ll

f24)

ll'J:J J-J-r,ll ll,.rl-t:J. .lì,ll

I2 1 l

ll'r: J J J: 'll ll'1. .fJ-J-r:ll

I34l

1l
ll,.fJ J!J-J-ft ll,:-:-n ; ; ,ll
[ 3 1]

ll'.[J JJ ,-:ll l]')1. ,Tr: 'll

f32l

ll,JJ i,r: J ll ll'"lft: .fìJ.1l

[41 ]

ll,_J-J-J-:
) n:l ll,,Tr:_J:J 1l
l42l

ll,_J-J-t:
Jt l_;ll ll,J-J-I:_J
r ll
I4 3 ì

ll'_i-J-J-J
), ùll l,J-JT:,JJ)1l
 RHYTHMS lN 3/8 ORTRIPLETS:#l

SeedRhythms

r l l :J: I {l z.li:r.fr ll r.ll:rr.l '11 *ll,'f-J 1l r ll o.ll ,)rJ,ll

'lffi
lttj Iì] )I
Is46]

l:1rr t atl ??.|)1l I

ti
v.fl.frrr lrJr 'll lt r |
l l ') ) 1 1 1)-) .f,t.f,1l
:ll l ) ,Dl,
1,,,,.frvrlrJJ , l .fl r'; l l .f." .,l
ll' at t
rrr '
t laay ?l:ll
I' rrJt t t )At l l ll' ;rlr r . 5 l li:rr.ff f t TJ:iI
[32r] Is64]
l . N*
l 'a " rr \ ll,t Jl t . fr l . l r t ' l l ll,n, \r \ ?l:1l
' )rll ' a,a)

l "t t t a)t .fr.l,ll ll:r .frr llrll ta, a I ll'.lrJv |lv lr'l
l', ',, .ftrJlr.l
r :ll ll,.frr.f
]r \ r ttt') l l l : )r r \r\ lf:'ll
.l l 3 [4s6] [64s]

t: ta a" rrJ:ll ll'tll ) l' l

aa l.lr.lll l],.ltr.h
1l l J'll ata

t :l :
a
\l 111
al
r .ffr :ll ll,l-I: I' J'll lIr.lr ,ffi .fr.f,l
l' t \r a
' 11 ' 1 .[t.fll ll',T: JT r.l r 1l
.lrt),ll ll'.lrt.f
[465] [6s4]
l::
aa
\ r v r ta\ .lttt ll ll't"! Jr.ltllllll ll,Jt.laa' 'l:1l I t?

l:.rtr ?- 117tll ll,Jr:I JJi.frrr:llll, fr ar' , ,T:il

.i
l:: t aIa t1 ??):ll ll,t'l,TJl")il I]',TJr v f..tlt 'll a

HCmÈl|- ÈllTHll bI bÉ
l Yr||rs rx 3,l otTn|'LET*n

lr2l [31] tr r I

lFJr''' v ,\r ,l l l l ' t r ) a

lrv r ,ll il:
ll ) r I ,ll
Irtl 132)

lF)' ' r r 1:ll ll,t ' al

v a
l'rv,ll l:
ll I ) r ,ll
n4 [34] lf,.) l

ll-)' ' tfl ,ll ll,t ,|

tfl 'll
il.
il' 7 Y ) , ll
lt5l IJ J I [54]

ll= ) r t fft ,ll ll, t 1 fft 'll ll'

ll 1 r r: 'll
Itól [36]

lFJ't t )'),ll ll,t r' l'r

al .bt)'ll ll'
ll
'1 )')1l
12u [4 1 ] [61]

ll' 't I'rv

at )r I : ll ll't )r I ,ll ll,)' ) ) r I ' ll
l23l 142) Í,621

ll" lr r
ar
r v ):ll ll't v )r'll ll,)' ) r )r 1l
l21l l43l l63l

ll=t l'r:
a' YJ: 'II ll,t Y Y ),l l ll')' ) 7 7 )'ll
f25l I45l f64l

It' h r Jl t ,ll ll't y ,ll ll')' ) I ' r]' ll

lxl 146l [6s]

I t ' lrr ) ' ) , l l

at ll't )'),ll ll,)' ) r J ' ,l l

t7
RHYTHMSIN 3'4

[l attack] [2 attacks:2+4] [3 attacks:2+2+2]

l l , J. 1l l l 'J ) 1l ll'J ) ) 1l
ll. r-r I
ll'-J-.l-!-;ll at,a a_4. _*ll ll,.fJ J .fil
ll--J J._;ll ll,J J ll
ll._J J.--:ll ll,J. ) ull
ll_J J l l ll_J ) l.-;ll
l[r:_J___;ll ll,JJ r1 l

[2 attacksl+5] [2 attack: 3+3] [3 attacks:l+1+4]

ll'fi_,J 1l ll,J. ). 1l ll'rl ) {l

ll'J._t-: il ll._J). ull ll:
at a
f-lttea. I .h1l
ll._J JLll ll._)J. J1l ll'J n {l
ll._J. .hJ.-;ll ll._J. .hr:Jl
ll._J ) J.--;ll ll._Jn ul
lF_r-lJ l l ll.-r-l-.lr). {l
[3 ettacks:l+2+3] [4 attacks:
l+1+l+3]
[4 attacks:l+2+2+l ]

ll,.hJ ).
,ll ll,.f J
1l ll:F )1 1
\l
at a a a,a. )

ll J J l l ll'J-:J. J{ l ll,l
). 1l )

J. n { l l l ,)J. ,n 'll ll'_JJ .f J:_jll

ll-_.h
ll' a.
| \l 1l ll'
at n ,ll ll, J
a ). 1l )

]-, JJ l-ll ll_J n r'-1 :ll ll._..t) J tll

) aaaalta

lL_r-tJ 'll ll_fi Jt J=__lll l'J-:) ) 1l

13.ftacks:l+3+21 {4 attacks:1+2+1+21 [5 attacks:

l+l+l+l+2]

ll,.h j. il I I' JJ J J il 11:l-l

)
| ll ataaaaa

-1
ll,J. .l il l l 'J J J
) 1l ll: l-1 \ | .h1l at a a a,a

ll-_J J-t_ll ll',JJJ J-: 1l ll,t-:; ,n 1l

)

ll-.hJ .f J-:ll II'JJ ,n 1l

llJ : ; . )11 ll,J Jt r: 1l
IFJ .f J. 1l ll;t.: ,r: f::ll
 "9ó PLUS" (t anack)

SeedRhythms
I li,J il ' li,_) j._ll , ll._J J._ll . ll._J. l_,ll
lt2 3 4 l
ll, I Nl lr I r ),ll
.to.a-_Jaa_4.
lr342l
ll,J._r:J_fJIJ 'll
l.tl ' la ' llr N\
114231
a _:-.. ò-o l. 'll fl,J)._) llJ._)J 'll
ll, |
.t o. . \i tr r
o ,d'o._l
l a
,ll ll,J. U__I,-:: ,ll
ll32 4 l
l.tl ,o.I I l\r r
Ir2431
a. ) a,a._4. ),il ll,Ji. l)l ù j , ll
._ a J ,ll ll,J._) J ll_J ) ,ll
l. tl ' io . |rl
..-J..lt Nl
Ir432l
ll' | \l I I r.. ,ll
., o.. .-_. ,_l '). li'J I./ J_I)._)J1l

ll,J_)i_j ) n_) ll',u_.i J_tJ l,

ll ). .t:-]_J._,bJ fr J )j. [].r_t
ll'J U___,DJ._;J fl'J ù)J_J; )
ll ) J_DJ IJ fl', .r-.fJ.-,J. la
ll,J._.fJ ll_J ) fi,)J._J ll_; o
ll,.l. U__ji l_.f.J ll' .t. ,)i ,_,\,-_o
l234rl [41231

ll'J\J._.J
J-IJ )J.:ll ll'-J ,bJ-_l-,bJ.-J
J._ll
l24r3l [4231]

llJJ.._.J)l J J=ll ll,_Jù)J-_L.JJ J_:ll

l2r34l |$'t2l

fl_)J J__l_l
),_) ùll ll,_Jùl J lJ_)J_;ll
[24311 142131

ll_)J.__J
ùl_lJ J:ll ll_J ò)J |) J._ll
[2314ì I 4 l1 2 l

ll-_,bJ._J
J 1].__Jùll ll,_J)J__J_lJjJ;ll
12143) I$2rl

fl;.bJ.
)__DùJ J._.ll ll,_JU J_DJul

lar2)

ll_JJ_.J) lJ.-)J=;ll ll,_JJ--_L:l;._.:

r:rll
ltr21l

fl_JJ J__DJ_Jùll ll,_J_)l_l_J

J ) ùll
[32{rl

J._)J_JJ,\J_;ll
ll._J ll,J J lJ.._)i ttt
l3r42l

ll-_J J )__Df)]._'ll ll'_:._,u|) rJl

lx2rl
ll-_J )) lI)J J.:ll ll,_J)__DJ.,,fìJùll
ll2rrl

ILJJ._)J|)_) ùll ll,J J_l_)J) ùtl

ll;.bJ..--J
a a to
j.:ll ll,J U lJ._J:J._.l
-ll
ll_)JùJ ). J_.ll ll_: i__J.)JùJ J._.l
fl,_)J.)__l J:_J.J| ll,_J)J IIJ J J._]l
ll,_)lùJ__LJJ J:ll ll'_J ) llJ_r J._ll
ll;.bJ._.J
J lJ òJ;ll ll_JùJ__DJJ J_ll
ll_)J ) ll_J J_ll ll'_J..___)J
lJ ùJ ul

ll._tn_) |J..__.bJ=;ll ll'_J)__Ln)._) ùll

ll_JJ J__J.)J
ùJ__;ll ll_J._.r:
J_IJ ) ùll
ll;J J.JJ lfJ J=;ll ll_J) lJ_)J ùll
ll_J) ) {fJ_)J:ll ll'_J.__)J
IJ J_.nJl
ll_Jr_J__)J J:ll ll,J J l_lJ_.)J {.jl
ll_JJJJ IJ ùul fl_JJ___Dr) ul
ll_fi o-J'
ll r
.,_Lo l___ll ll_JIJ l)1.__J
l_ll
llJJ .aofì l J-:ll ll,_J)J_IJ U j_,ll
llrbJ ) J-l-; ùJ:ll ll'_)J
_J lL: ) J_,ll
llJJ ùJ )u J-:ll ll_J J ìI.\J._JJ._ll
ll-_rl ) I J ùJ:ll ll'J ù)J_]-J ) J_,ll
ll-_)J )
tr l
.J. t J____ll ll'_,\J._ilJ ùJ J._ll

ll-_JJ_J ìl_J .\J.=;ll ll,_J)t__l_i

u ùtl
ll-_Jù J l l J.-)J:ll ll;)J.=JJ_l_J) ùll
lLt J J_l_Jù)J:ll lu ) lr:_J._i
ùtl
ru ùJ t_l_J )J:ll ll,JJ._JlJ )._)ùll
ll-_J). I.1.ù)J. ,ll ll,_JJ I_DJ._.Jùll
IF-J .,t tr l
.Ja t JJJ:ll ll'_J
t_.)J__l_J.J
ùll
 "9ó PLUS" (2 consecutive
attacks)

SeedRhythms

, ll,J. J lf 'll,.l' ). 1l ,ll,f-l J_11 olt._J J-_ll

tt2 3 4 l t34t2l
ll,J ))i_Jr )J fr ll-I )J r)IJ ))l_;ll
It342l 13t24l
ll,J . \N.I
2. a a l a I I a a aNl
,a. il_,? ))) )J.,J fljll
u1231 - t32411
ll,l ùJ r : )J.-T J ll_rJ )i_l_JrJ ùll
t l3 2 4 l 131421
ll,J ù",] J ,hJ..,J
T ll,_r) ) ll_JJ:)J:ll
112131 1342tl
l l'J . .NN
4. I
)a
nnr
aa-aaa ll,_rJ_Jrt)J ) ùil
lt432l 132141
ll,J \1.
.e . aataaa
1 1 t|\a'4. ll,_.1
J)J ) ll J:jll

[2341] t4t23l
ll'.bl._IJ_fl,l i. ),ll ll._.t
fi ) )l ,f,l_t J_ll
[]413ì t423tl
ll,)J._JJ:IJ.IJ: I ,ll \,
ll,_joòo1.. I t-t,
tot)
r
). r_ll
r,..rl
l2l3.ll -
113t2l
fi,.u ) ll_tJ_Jr'll ll,_J.a -a a a ll N \r .l
ta . a ,a' 4.-,1
tl
1243 l4 2 t 3 l - -
fl'.f,j.,1
nLn) ) )'ll ll:l òl-| i'tr\ .| | N
' a. a:a-t. ._ a
.l
[:31,1] Í41321
ll, Nl . I N] J:,ll
a) a a ._ a a a ) ' ouo ll,_J|']l . a a
N
a I a a a
:l
o o ._ l
Ir l43l [,13]l l -r\
\

li,)i ) al
| \I
) fr-nJ ,ll ll'j .-
aa_aaa
\
a a- a. ,
\ : lI
ll'.r''Jrl J_1_J
J-l_J)1l ll,) J J , l| J )TJ .II
ll,)J J J:Jr:J_l )1l l' .bJ ). tll rl L L at't,ll
ataaava a ta

ll'r] l_l r:Jl. ),fl ,ll l')J i) _fl )J I]1l

ll,'J.JJ lJ I]_J)1l l .\|
at a.'a' a.
|
\l rFaa-.laaa
ata 'll
ll'I] J_J) J r_)J 'll ll-rl Jt-,J ,f.,)J. I r-l'll
l i , J lJJ I lI)J J .b ll ll_ruJ ). .bJ,-l'11

I'J rlfìt
a a_ata'
lrtt
t aaaea.
N,ll
a ll-ril) )t n )_LI
ll n n t l t atlafìla .
a a _ a a a\_ L a . 'll ll_r J } T ] ,ll
'-,NJ.
|iJ a a_4.
N l .l N l
a't aaa_a a, 'll ll_r))J IJ-:J_Jrlf
-r
li .rana-art lla a\_)-a a. _4.
t t r, , l |rl ll_J)J ,T:J)J.I U
lr:. N.rl rr1Nl
a a a a__)-a
a a-a a.
,ll ll-J \n ll J T.II
a a a a I a a.

It J l. \ l anall ,a na ta_a
..
lt a.
,ll li'J N \ Irta l)-fr ) 'll
a a a.
I ''ó PLU!;" (2 consecutiveàttacks)

ll:n
.t .. . vl .---l I r ..
. a a!-a. ,') |*....-..
l l 'l TÎtl N làI r
.,1 .,:J'll
ll:nll..l
rt . ..v.
\l tr- l.'_....-à
l ' l în l lrN l \l
l l ,l t l L)
r,.r J'J J-'ll
l.r.aatj
l ' [ TTt I ).|),J
tlNr N
J\) ,ll: .'.
\ l .'t
l. ,l
t tl aI J:
r
J_jlf
-l
ll'[TTlI
.r .. a a_a.Jl\l' r tr\ ltil :À
J J _IJ . t')l rN
,àl ltJ
r r)r.)
r rj
J.ll
ll'
.t . .N l . Nl
t
l l r .rdr ro
t1o ò-) l.tl ,.N..l ..f T.n.:..
i t ./'J
xr j
1l
ll: hl Nl I r \ ll' . Nttt. ..Nl .:Nl |
..-a ) ,ll
. t . ,. . O lltd
-l
d_o,). .,
" -l

ll,J .,r.l N l' . . lt traaraar r-4, .b,ll J_,r.j,f.l) [JTll t

!
fl J .,_.
I fT '-l | \l
ata ),ll
t
a a aJ,à I
. e. N. .l lt a,
x ta N t r' r. t l
a,a a a L t
t
ll'J..-d lI nr \r
a a d_ ara ),ll f', | | I l-r.ll
I
.,ò 1...,_a J J J J |, (
-l -l (

ll J J]_JJ_DJ.\J ),ll )J J_DJ.rxlf

(

ll,) el '.l l.\_Lali r r r ar a a_4.

),ll
It
)J )l J J_'-rJ q
q
ll'J IJ-I]! i._.bj,b1l t.l_DJ,)J Ijjl t
I
q
Rí[I.lan||rab T
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I J\U ll,J U J 1,u..-J-J-J
lillll,l I I )J )J ,ll ll,.1.l,J J-l-rJ ,l,J,f"ll
li:-.r-rr::
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lyIJTt) l.l'l ùJ J 'll ll,J )J ÙJ J-J-i-Í:,ll
ll;IJJ )J ùJ rJ ,ll J | )J ùJ ,?1l
ll'J..-.--,-1
ll: t
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a a a L|a.l ..l ..
li,r.l )J )l J ùJ J_.ll "ft.,l.|l,ll

ùJ )J.tr))
fl,.h.l
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l!,.f,J )J )1l
ll'J ùJ J-l-r-lJ
r |- 1- f lt J
ll. x r Nt
ll a'a a ,ò _ Lt t t t - t f:'ll
ll,J )J-J-.il-Jl-J
II.)J,|)JÙJ J.-TJ ll,J ,bJll_Jl._,Trl,ll
lr . N l f - 'T.'lr f1 j
al a ' a - _ a ) d d,!Ò Ò Òt ll,J-|l J | )J ùJ .rl'll
l. xr rtî'tl r . \: - , . J ll' I ff:il
a Ò_a a a aL. .I .. ,f.,ll
-,\..]
ll a 'J._ a a aat . .
a
 '9ó PLt S" (3 atl d(')

SeedRtìythms

,ll'J n ll '.ll,JJ J ,ll J ll .ll,f-l f)

'll,J J tl
2341 t34r2l
ll
at a
:|
r
I
a a a aa
I
lr : 1m,l 1,.1, rr-r.lr.11
lrrJl ) ) ) ) ) ) ' l l
[1342] [3]241

ll'Jfff'J .f'lÍtr)n),l )J .ll ar-ra a_aaaa

ll'.1., t-rr.ll
[1423] I32t4l

ll,J [ l n 'lll
aa - a aaa'
tl l \lN:l
aatt a a a I
lt'tr \-
lr a a a a a a _ a a a a a
fT ' f ] lt l: ll
aa ta
Ít3241 t3r42l

, Jf r, ? J. i
ll,l ,l)l ) J :, TT J : ' I I I I ' } J, I . N
[12431 t34211

ll,: ,l i) | tr) )J ,l',il ll')J ùJ-J-J:l

tl a aa a
|l'llt l
aa
u1321 [32t41

ll,l n-ffi| )J ,1t., ,ll ll,)J ,f.rlJ aI aa_aaaa

n lTlì:llt,

L234tl

ll'JJ..t. J|J-J]:Jl:,ll ll'), .J.J

J J-J:n_IJ
t24131

ll,J:J_ I J:)J,[1l ll,,l: ,ml,T]lJ f:,ll

12134)
latl:aaa
tl I a aal
n l .|'J.f'rl: ll ll'l. )t:-fli J , JrJ:'l
[2431]
ll: )J )J ,r:1l
tl I lT'.
I a a a Ja aaa ll')J ,m IJ J:rj-':ll
t23141

ll,rJ )J )l ) D"rTnll ll')J)l iLn J J-JT

t21431

ll'rJ . frlffi) )J ),ll l' . I)-DJ ), )rTIJ'l

FACTORIAL
RHYIHMforAlllnrrumenr
l',))l];fiUll:)J)1l li,|JT:J
r:uJ )rJ 'll
ll=)Jl"ÍntlJ ,Tr,ll l,'JIIJ-)J,l.i.E::, J 'l
ll'J Lf,J. I I-JT:".T1'J',1 l'')J ,l.Fi:,J r-rJ 'l
li'Jl:-J:r I,Tl!.f'J,f.'l ll,"Tr,l-J-JJ:J )11, ,ll
ll'JJ tml.bJùt:n1l J ,l' rjl:,11, ,ll
ll'J-J-J:
l,) fi)t ll_rjJtrrll ll'.l.t .l.Tl:]-i::: J J 'll

li' JT7fi-ffi| .J..).r J ll'.ll_.1:)l ,!J ,TrJll

ll,t|f|l'J ,f') n"n) lr'JIIJ)tJ7r)-Jfrtl
l,' IJTJ ,-:r,E:.fJ. l,J J .rJT:.L.NJ
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ll,trli tl.f,./ftJ ll'J J .lJ .l'rfll-irl,ll
 'tó PLfrS- (3 .|r2ds)

fl,'|]JJTI]IJJl",l'J fl,Jr,l,J .fl lffi-Dt'll

li,J-rrJtii:J ,f,J l,'tJ.lrTtLtDIJ ,ll
ll: lTn na I rT- |
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II.,TJ:J
J I,T::-}J l,)J ), lll.Tr-rJ 'll
ll: |l i aalrtl rrn r l,J I:JTJI.-).,.J.,,JJ
.t . aa aaI adaaa.
'll
ll' ÍTl fT'-l aI aI a,a
.t .a a a - a a aal
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li'JII!_,|
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ll: n I nl òl-r x
ai 4.. d oot o d o _ d 'à ll,Ín-n J llJ )J rJ,rl
II.J J:,TIIJT"IJ
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ll'Jlr l-lrl. r.l'J l''.l;Í:-)J ,f'l.1-3J
J .11,r
ll,r::,J ,li,lJ )J f'')J .rr!I Im"l ntl
Ir'JI:J:Jt.tE:-)J 1,,,!J J-f:'lj,l'J.l'J.J;,l

FACTORIAL
nHYTH}l lorll titfurrs ì)
trlxì
NI \. I )aaaaI an.ll
II.-IIIJ I] IrJ )J ùll ll:
al a'a a'aaa
-rr'r a'tr
F23ll

II-.rITTJ)J )J l]-ll ll: tl 1 fTfl

a aaa aaaa J )J-fl:'ll
t.r3l2ì

ll,_rtl.bJIrntt,ll
l a aaaaae. )r fJJ J-f::'ll
lr',Í-J1.,.
I,l2l3l

"TI]JT1I
ll: ll Nl |r
J:J lJ J:,l,Jùll
II.-ITT at aaa a'a a
Fl32l

II--IITJ J:I )J )J: J._ll ll: \l

a a'a
Nf T 't l
a aaaa I J J ,Tf'J,ll
t{321ì

ll,-tfr)l ) aa a a a a t , J .ilJ)frr,ll
II.,T::J
-lln:ll

Ii-Ifi)J \l | | lTTl:ll
a't a a aa aa a
ll.
at aaa
- a
r-
aa )J )TIJ:.II
II'IJI] J J | .Tt:)l )ì ll,.r,f .U ,ltr,tl.r,Tl'!'ll
ll,']JJ-fr:)J )J r,ll ll,)J )r J I i lîn:lla aaaaaa ta

Ii.J-J-T rlr ,rl

J T: ,f.J. ll'J rl rl J |.u )rr:'ll
=îr I n 'll
ll,tJ-t )J ))aa.l aa'1 4 l: tl I N | \
al aaa a'a a' J JlTIT'II
r- l rm.l l
li,lJJJ-J-tJ r)l )ll II.}J}J IJ a a a aaaa' t a

ll
5ó IIEASURES
(combiningI seedswith 2 seeds)

t43ll [413 l

fl , J ) ) , l l ll, N 'll o ll'J_.r': l ,ll

ll,)l._)i ,ll lt, ùJ ),il ) ll,J J..-J ),ll
l l, i ) J ' ll ll' ,ll ll') J ì.j 'll
ll , ) ) ) ,ll ll,"r:_t_J: i._ll a'_a)_à Jl
ll,J n)L J ),ll ll,_J Jt_ll ll' J :J
-....*.-:
'll
J. ,ll
l l ')J )J ' l l l'.,r.:J.._.) ll. t
f l' ,
\
a a_414.. 'll
.ll

l lJ, J r:J'l l ll'"Jnj J_ll l, J . , f J I , ll

l,J. l-J ,r: 'll ll'.,J) J ùll ll_J ,l)J ò:l
1422) I s 21 ] L6lll

ll,J ] J ,ll ll,J_) I )'ll t: ) Jl 'll

li,J 'll
à ) l,n_) ,ll l, )J . *a' ),ll
ll'J ,ll
) ll,J n_) ,ll ll' ).
,ll
ll:) )l ) ,l l
)_
ll.r-rr
t))))_) ,ll
ll_) )
tll tt- rr-:n) ,ll
ll_.l' N NI 'll
) a:, a t a.
rr,
aa
, a
\1a . ,ll ll_t ) )J , il
ll_.t J ,ll ff, ,
at a. l-f: ú
ll_J J': J .I
ll,l L.f'J .b'll lr , , |ò J J .II ll'j t*.1
aaaar 'l

ÍACTOB I $lYlHt{ r. I bù-*

 ó,1íÉASURES
(combiningI seedswith 3 seeds)

I3t2l I42rrl I4r2rl

lì'J J._..bJ 'll ll,J a J': ,ll ll,J ùla

at )'ll
ll'J N)J. 'll ll')J..__)J
.:- )'ll J ,ll
ll')J....__,-:
ll'J t\ a-:- ) 'll ll'r: ,ll
) ll'Jn) )'ll
ll'.t''J. J )'ll ll,J n 'll ll,)J atò
f'\ I ,ll
ll,.hJNI J-11 ll: trfTl I U
a!-. ttaaaa-4 . il_n) _ll
ll. r
tfJ ),ll ll,)l .b)J ,ll
) il_n) ,DJ. ,ll
ll .l.'J. ,ll ff,
ata
r aI J ,ll ll: fi-fi J-:ll
a
!lr

at a J._)J JIll lt' J. a\_ atrfTl

,'. ,
aaa
,lla ll,J N I r: ,ll al a

I4rr2l l Jl rrl

ll,J n) ,ll ll,J.=___J-J-n

ll' J ) ,ll ll'J:_J J'l 'll
ll')l IJ 'f'"ll ll',-: J-J. )'ll
ll,r: J ,ll ll, iTT'l
a1 aaaa_o
,ll I
ll: r'T't-l I
ttaaaao
,ll
J: )J ,ll
ll r
aa
ll. r
'J n) .-[
ll.
l|
r
J. )r: J ,ll
lt
l|J.
:I
I
\\r
aaa
r. .11
a: Ia
I
rt _
a td J-J-n,ll
 q
ó.I MEASURES 5ó MEASURES .l
I seedswith 3 seeds)
{combining (combining
2 seedswith 3 seeds) J
J
[31221 l3 r 2 r Ìl I
Ita' J._,NJ),ll ll,J J_n) 'Ll ll'J \ trl ,il aaaat
I
I

l, J\J ì.J I 'll ll J ) J ),ll ll,)J )J . , f ' l a

-

I'J J]*}J ,ll ll,)J .L)J ,ll l'l'1 ltr.] ,ll

I
a aaar aaa rr é

I' J. TT: J ,ll ll,J 'l)J

:l ll,Jn ) ),ll -I
€

l , .J,l. nJl ll,)l NI

U
a,a ll' ) J ) ) J ,l I
I
a
I n) )
tt..
r]l ll,.ùJ l-l .|:J l_,rrrJ_Jl-:jl a
(

t- \
aa
\
a'a J ,ll n) J J ' l ll,J:J il) ,ll
lT-.
I
I
J
t_
I
I ))) J ),ll i r:_)J ) ' l
I
fl r'-fT'l ,ll
I l. r
I t' J a a -a a a a t a
€
€
É
é
11i
-r-r 1322r) l3 r I1 2 1 é

'). ,.: ']l ll,I L)I ),ll ll,J N f'"1 | ,ll

\
a_ ) aaaal
€
€

),1 ll')J ) ) ,ll I'J a_aaaa'tlr rrrr .l €

:\ l a a. I
)

'll ll'J n) J ,l
é
,i: J..__)J. I
I
,..)) J . ' l l l l I J , b J ' ll ll'r : I J ),ll é
F

_,\J ,E J ,]l lLr ) ) J-:_Jl ll: f-fTl

al aaaa-aa.
\ | :l é
rt
€
: I
a_aaaata
fTfì :l l[fi J_)J ùl l,) J FlTl
aaaa
:ll
ta €
€
.-r.rfi
atraa_a J ,ll l[)J ]lIl ll' tTTl
ataaaaa ;u €
€

),1 lLlJ Ir J_1laa ll r é

a a a a.
I i: I
, l : ) : ) ' ll €
é

34
t,,,,
1,,,))J )1l l l ' J )I222rr)
J
[1rl l4]

J': ,II ll'J-J-f-tJ 'll

F,'t ,ll
F,r, n ) 'll l l ' ) J ù)J )1l ll,)J_.J-J-n
r n) J: 'll ll, .,-: J J ) ,ll ll,.r: J J.: 'll
fl' ,ll
lll' l
.tt J.
,t' ,ft
'll l l ,J n) ) ll,"r:-J:_J. )'ll
lli=r: J )J 'll l l ,J ) n) ,ll ll'J ,Tr: ,ll
r-J-rr:-Jl ll: fT'f'l fr I ),ll ll'J-JT: )J ,ll
lrr.-r: ,ll tt,n, a aaaa - a a

ll,I f: r: : ,ll
lll
I-
rJ-f:_r: J at a'a ),bJ JIll
n ) nJl 1,, at aa
n, LJ-J-t:Jl ll'l ).rn,ll
lt,_,
,ll l l ,J
lfi'i:rJ-r-r: nnrll
aa_aaa'14

I r:
l||..r.'.r ,ll ll,J J )J )1 l
t J-.u )1l l l ,)J ò.r: J ,ll
lr ,ll
lk rr:_J J l l ,Jr:_)J ),ll
r: )l ,ll l l ' ) J )t J ,ll
lll'J
lll;J-rnJ Il ll:)J )J J-:Jl
ll,.'.r,br:J ,ll ll:r:) ) fi_ll
lilr ; :-r-r:Ll ll,r: J )l )1l
I 35
RHYTHMS lN ó/4 13attacks)

SeedRhythms

,11'J n 1l 'll'J_l J 1l '1,) .l .1,ll nll,fTTJ ll

[ 123] [341]

I 'J fT'-
a a a a a a a a tl
lr \'ll 1,,\l N a aaaaa
| aatr] :ll
ta
ll24 l [312] - -
ll,J a
rTrl
a a a
I
a. ) r: ,il ll,)J a:_a
|rl f- T-l-] l : l l ta
aaaaa
!341 13421

ll'J fTf-1
a a a a_a'a
Nl \| l :l l
a a a ta ll' ) J I
aaaaaaal
N lT'- 'll
I l3 2 l 13241

ll'l ll,)J .b,r.:J. )fi ,ll

t 1 , l2 l 13141

II'J a' a
N a
NafT'-
a a a a
| :lll ll' ) l \I N )r: 'll
aaaa
ll43l 13211

ll,J a. J ,|'.|.:)J .ù'll l' ) J ) J ll J J ':'l

[234]

ll'.t:| a a a - aa a a a ta
Ni \l- 1 :ll ll',hJ .|'J:)J.|ll'll
[2]rì -
ll'.r: | a a a _ a a a a a tl
I l'1 'll l,)l ) ,r :,bJ . ,?'l
ll4 l l - -
lt'n |
a_a a a a a
| t-l :lI
a a ll,)J )r:J J f:',1
t2.l3l - -
l,n l
a_a
f-a \t
a a a a
-f
\:ll
a'tl l , ) l ) J f f i ) ,,
ll'r:
.r
)) )J ) ' ll ll,t:)J )J ) n,l
141

l' ,-: )) ,.: ,Tn'll 1 ,,-J..,). 1 . , , r ' l

*
l|.n .lrJ. ,r: .f,J ),rl ll,J'lJ nn) .l''ll
ftr .hJ.frTt t ,l ll'.r:J fl )l J ),ll
ll,
al ar'l
a aIta I arr lfff
_ra a a a J
,ll ll,JJ t: )J )n ,ll
ll't: .bJ l-f: J ,-: 'll 1l
ll'.r) n_n J-JTJ
ll,t: J J .r: ,f'J .J,'il ll,J-J:f:J )J J )'ll
l lr-lJ
' . t)J r:,ll ll'J-J-f'lJ ,l'J .f'J ,ll

||r: J n_n., r: ,ll l, JT-J-J.r. .r.r-:J ,ll

ll , J:J J :)J J ), ll ll'J-J-r'lJ J ,r.J)1l
ll,J J-J-l-:,l'J l. :l ll'J'l
at aaa -l.l
a ,L -,Tf'l J 'il
azaaaa

I 1I
II'J JTTJ-,TTTJ II,J .ilJ )J J-JT:'II
ll,J J-J-r:,NJJ )',1 ll'J)J LJ:,TJ-:,ll
ll'J rTr: J .NJ.l'',ll l,,JJ)J ,f'f: .I ,|,'il
nHYTH S lN 6ra (3 aEks)

ll'n .lJ )J )J )'ll

ll'J: .[J ,f'.-:J J 'il fl'J JaT;-) J-J-J:'tl
ll,J ,hr: J J-J-r:,tl ,f,J:,ll
li'J J-J-r:_.f'J
ll'.bJ ,ùJ:J: J J ,ll ll,J-J-nJ:_.hJ.|\J ,ll
ll')J ,br:)J )J 'll ll')l )J )J )r:,ll
ll,J. )J: )J ).rl ,ll ll,)J )J J J-J-ft'll

l l ,J)i )r: )J ),ll ll: tTÌ"l

ataaaaaaa
i f- )J ll
ll'l] ): )r: )J ,ll ll: tT'l-l I
at a a a a a
Nl
a,a )J 'll
ll'n): .[J.]] J ,ll ll, ) J r : ) J )r: 1l
ll,)J ) N- a a| an,il
ata a tl f l,J)nn )J .h1l
ll,) J ) fìl
a'a
fl]:ll
a a a a ta I IJ. J J : ) J )r: {l
ll,J) J NI
a,a
lT't-]
a a a a
:ll
ta latl ,ata.
Nl r -a l a a
a J n{l
-l

HftUlLlllllt|brh r
I4l2l

li ' , J -f f : JJ-fT :J'l ll,-.r:JnnJ r-:Jl

14231

J':; ), ùll
I,_r?-n J n_n.-fr:Jl
ll'_r:
[rl]l

ll,-r)-f: J J: .f.J Jlrl )_n J-J-n_tl

ll,_J-JT:
l{2rl

ll'_J-If:.r:JJ r:-ll ll'-.ff: J J JTI-rl

l{JrI

il,_rrr:n-nJ ,r:-il ll,_)J)J: J J-J-f:Jll

l{321

ll',rJ-r:,rJ-,TT!J 'tl ll,JJ )r: ,-: J .r:-ll

ll'JJ ).r: J J-J-nJl fr'-fTTln-nJ fi-ll

ll-_.nJ)J n,TT:-ll rfTJ-tl
Ir,-J-J-r:.r:-J
ll,,J:J n-n J-J-r:-l l,'-fTTJJ J .TIJ-ll
ll_nJ ) nJ-J-n-ll fi);
ll'-J-J-nr ùll
fi'-JfrT)-nJTTl-l l'_,r:J .f: J: ,f'J JIII
li,-J f;r)J ,TT,l-ll nnJ
ll,_r:J r:Jll
 I
(
nHYflits lN jra
(

Sced Rlrytfims

h
t.J "l -l 4.)

fr2341 134r2l

ll,.hJ ùJ J 1l ll,.l.U.IJ 'll lDJ. ) fl:ll

lr342l 13124)

J. )11
ll'.bJ.) J 1l ll'J. .fJ) 1l ll._JJ.._Jl
fr423l I324rl

ll,t_L.fJJ. 'll ll'J.l_rJ_J)ll ll._,tJt.,rJ_Jtll

113241 13r42l

ll,.hJ.) ) 1l ll'J. N I J 'll ll'',.fJ._.fJ.

a roIl:ll
112431 [342r)

ll,.fJùJ. ). ll ll,J.u . J .l 1 l ll'_.fJ.

r:_J.ùll
[1432] 132141

ll,t_L.fJ.Jil ll,J. l_,1J 'll ll._Jt J \:l ). .i-l

[234rI I4r23l

ll'JJ_r_J..f'll l l 'J .fJ Jll ll'-Jr:JJ J-;ll

12413ì 1423rl

ll,J .lJ. 1l l l 'J J. ),ll

o ) ll.',J) ) JJ1 l
fzr l 143121

ll,J n) tl ll,J JJ 1I
) ). tl,_)).,fr) J ,ll
f243rl I42r3l

l l ,J J. J,ll ll'J a JJ. {l

) ll.-JJ.lìJ.J...-l
[2314] I4r32l

ll 'JJ_n) ,ll l l ' J .fJ. J 1l ll'-Jr:-J J J-;ll (

l2r43l I432rl
I
ll'Jn). ). 1l l l ,J ). J .fil ll.-JJ-.lrJ)J:ll (
(

fflù|l!|Yllrrb It
I
 J .fJ [:ll
lh_J ll'-1..trJJ. .Ull
ItJ.hJLJ.Ull ll._J.
L.tJ.t:ll
IF-J) ) J::ll ll,_;.
ù; JJùll
ùll ll'_J.
ll-_J.lr.l-.fJ ùrl l_ll
ll-_J) ) Djl )l J ull
ll,-J.
ll-_J
J JJ._I:ll ll,_J.
). I Jl:l

ll_J]JJ. J._11ll._Jt.._.Jt
J J-;ll
ùJ .|lJill ll'_J:
lF_.bJ J J l_:ll
It-.hJ.lrJJ;ll ll'-.ltJ
LJ. .lrJ:ll
lF_.fJ.fJ. J.--jll ll'_J:J J J_'ll
ll-_nJ_)J
J.:ll ll_)J_JJJJ_jll
ll'-.ltJ.J .h.1.-;llllJJ )J J_jll
.
RHYTHI{S IN 7'8

I attack 2 attacks(2+5) (l+1+5)

3 artàcks

ll'J=__J. il ll,J J_J. 1l ll,J-:J..__J. 1l

J
ll'_) llll : t r a1 a a *4 ._ tr ,ll
ll'-)J..-,J..--;ll ùJ..-;ll - a - l
ll._JJ._,J. ,ll ll,_l ) Jll ll._J,-1 J..:ll
ll,_J. ùJ. ll ll,-.1. l-jl ll._J.) ) J:ll
ll_J J.--jll ll._J )11 ll_J J-: Ill
ll,-J--) l-;ll ll,J.-.f J 'll ll'J___)r: ll
ll._J__Jull ll'-.1ì J...--J..f'll ll') J._J. .f 1l

2 attacks(l+6) 2 attacks(3+4) 3 attacks(l+2+4)

ll'.IlJ.._,J. ll ll,J. 1l ll' JJ ) ,ll

ll,_J:J.._-1.1l ll'-.lrJ. J. 'll ll'_J:J J. 1l
ll'_J 1 ,ll ll_J
a ava. J.:ll ll'-J ) J J-;ll
ta a.

-l
ll_J ) J. 'll ll'_J..t|ìl ùll ll._J ) J ùll
ll._J J J . I I ll,J J. 1t ll,J ) J ,ll
J.-;ll ll'_)J._.J:ùil
J-:_11ll'J J....__.1
ll._J___,f,
ll'J_; .I.'ll ll,_J ùll ll,J 1..__J ) tl
)_)

F CTOI I l'frl |l bIb-- 12

t drrcks ( l+4+2) 3 attacks(1+3+3) ( 1+l+2+3i
4 attacks

l. .t'J.._.JJ 'll ll,.l J. J. :l ll,.-JJ il ).

h-n )_) tll ll'-J: J.-) J.-jl ll'-fi,E-JJ-ll

ll' nJ. fl l _J n_) .l ll
) l',J n ) .l\ll
ll , . I'JJ J. ,ll ll'J. .l\J. :l
ll' |l|\l 1l a. taaa

F:J ) ) J-jll ll'-.ltJ. J J-II ll') J. .-: .f ll

l,_J.Ir: i'll hJ J._.J:ùll ll_J J._.J.r:1l
l.) .f ,ll ll, ùJ ),1 ll,.l J l-J .f 1l
) a,

I .nads (2+2+3) 4 attacks(1+1+l+4) (l+1+3+2)

4 attacks

l i ' J ) ) . ll ll:ffi 'll

alaaaa ll,,- J_) J ,ll
ll-_)JJlJJ 1l ll: tT'F I-_ill
a ea a a a a. li,_J-:
.r:_Jtll
ll, ) ùl ll.-l J: .f J-jll
) ll,J ,n ). tl
li, ). J 'll ll_J. ),rl ùl
)

t:.l'J. tll ll,J J-r-:,ll

) ll,_l J: l-ll )

l,_I J.=.-.f
a l 'll l: \ fn 'il
a a,a. a ll'J. .lìJ: 1l
a a tl
|\
a:,

t:JJ t-J tll .lrll l' ) J . J . f 1 l

ll,r.: J...--J

,t3
RHYTHMS IN 7/8

4 aftacks(2+l+2+2) ( 1+l+t+2.r2)
5 attacks (l+1+l+ 1+l+2)
6 attacks

ll, J ) l J ,ll li,J-flJ I ll ll',Tr: Jl 1l

ll,.)J ) i ùll ll,_./-j-r:
J ùl ll'_,T-r:
.r: lull
l l,J I ) J ,ll l l,l r:JJ {l ll: |
.t a a a a aa a
- - Tr :ll
fl,_)J ) J-: ,ll ll,.fl .f.lJtl ll,.tJ i J-r: 1l
ll'J ) ) ) ' l l l l ' _ J,TJ,ll
l ll'J: J J-fl ,ll
ll,)J ) J ,ll ll'.fìi l-.|l..: ,ll li'r: fi_.fJ: 1l
ll,,.: J ) ),ll l l, J lJ J . [ { l ll'j-J-r: J .l,il
( 1+t+ 1+l+3)
5 attacks 5 attacks(l+112+l+2)

ll'J-JT:J. ll ll,.r: I .fJ 1l

ll._JTn.tJ=;ll ll._i:.|:_Jr::ll
lllJ .-: .-: |ll f l ,Jn ) .hll
ll'J. .fJ-n 1l ll'.fI ).1ìJ 'il
ll'.l'l. J-n 1l ll,r: J t: .l1l
ll,J-J1..-.tJ:{l ll._JJl_JJt:ll
ll',Tn-J.f,ll l l '.fJJJ Jil
APPENDIX I
I{CTRO SWEEPS
ThÈ pagewascreatedasa wayfor stùdentswho' per-
h.p6, are too busyto organizeand practìceall tempos
6a an equalamountof time.Theorderor arrangement
of tsnpos is fairly arbitrary,yet they reprcsentthe whole
rrgonome. Theideais for the studentto practice4 dif_
È:tnt temposeachday,7 daysa week,for 28 consecutive
d.'r.
Students areaskedto keepin mind the lowerand/or
h*her "time octaves"for eachtempothey arewolkng
oo"Forexample, the first daystartsat 50bpm.So,the
studentshouldaìsothink about100and 200bpm.Ifthe
curent t€mpois 120bpm,thenthestudentshouldalso
think about60 and 240bpm.
In thisway,oneis encouraged to explorethe dowest
and fastesttemposfor whatever materialis curently
beingpractìced.Don'twolfy if playingat the cxtreme
temposis beyondyour currentPhlsicalcapabilitfor
evenif theyareneverattained.For the moment,just
keepthe relationshipofthe time octav€in mind
,t5
APPENDIX 2
't6 PLUS" (2 attacks)
no disPlacements
An permutetions,

SEEDRHYTHIIS FOR'9ó PLUS"

, ll' .lr 1 1l 'll, a

N? 1l
'll') .lr1'1 ,ll 'll' |\\
1l
'll'.lr1 N? 1l "ll, rì'r 1l
SEEft RHYÍHMS FOR"9ó PLUS" (melodic)
TYroAtbcks

'll,J. ) {l "ll,) ) t__ll

'll') J. 1l 'll'J-J J1l
'll'J J 1l "ll,J J-:ll
 "9ó PLUS" (2 attack)
SeedRhythms

, ll'.l. .lr{l ,ll,,J J 1l nll,-).1l1l 'll',1-1 'll'-J f'l-ll

'll,.ltJ. 1l Lll
Stortswith I

It234s6l lr2s346l

ll'J))t .tDJlftJ J:'ll ll,.t))tl_fl J[)JJ!JJ:,

[r23465] 11253641

JDJJ:l-lttJ'llll'J))JJtJ JJJJJ].].1
ll,J.),bJ.
[123s46] 1t254361

ll,J.h)J.!_t[)Jòtr,ll ll,J))t l n r\l N l l J:,l L a a a _ a a a tao

1t235641 tl2s463l

ll,J))l JJ_XtlrJJ)1l ll'J))J.l-,lJ)UfJJ:JJ'll

u2364sl 11256341

ll,I ))J JJ tl_.hJùllJllll'J),[J.]_llJlll JJJJ.I'

[l236s4] Í1256131

ll,J..[)J.JJ JlLltDl),ll ll't ))JUJJ,ll)l)J.l'll

11243561 11263451

ll'J))J.l_)J)Jt.!Jl:1l ll,J))JJJrl JJ]JùIJ1

[ 124365] 11263541

ll,J))l]-.rJ)J[] J:"rJ'llll,J))JU tJ JJJ:J")J

[1245361 [126435]

JJ
ll'J))l.l_.rJIJ:JI J:ll ll'J I
))JLJn")J)l ,l
J-J:J
t1245631 1264s3l

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