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Paperback & Digital
Pages: 56

NOTE: This book features 118 Audio Tracks. You will receive a code with your physical copy of the book. In order to download these files, please refer back to this page once you receive the book.

The digital book is not a downloadable file but is accessed via the Dafnison Music site using a code provided upon purchase.

ABOUT THE BOOK

Individual and Collective Rhythmic Skills

Rhythm is a critical subject for many students and professional musicians generally, regardless of the instrument they play. It is one thing to know how to read and write rhythms on a piece of paper, and another to make them sound confident, relaxed, and optimally, to make rhythm feel good and synchronized with the other band mates.

In order to improve rhythm, you’ll have to master its subdivision (its matrix), which is where rhythm stands. Of course, I’m referring to a rhythm that has a steady pulse, and a steady subdivision. This book will help the reader work on creating a deeper connection with rhythm, its subdivision (matrix), and relationship to the pulse (beat). Most of the exercises will be done by clapping, tapping, and singing rhythmic phrases (individually and as a group).

One of the fundamental approaches to achieving rhythmic synchronicity will be to memorize rhythmic cells, and rhythmic phrases. This way the rhythms are not only intellectually in your brain, but introduced and internalized within your body. It is then that you’ll be able to own these rhythms, listening and playing them from your heart in an organic way.

The real collective rhythmic synchronicity starts when you are able to play a rhythm while listening to what the others are playing – all at the same time. The exercises in this book will be executed using different techniques, such as rhythmic syncopation, displacement, independence, interaction, and improvisation.

A Rhythmic Course for Non-Drummers
Includes 188 Audio Tracks

This book came to be after teaching a course I developed for the Frost School of Music, University of Miami. The course was conceived upon the realization that many of the students were significantly more advanced in their knowledge of harmony than of rhythm. In fact, many were in need of improvement, mostly with rhythmic syncopation, which broadly means everything that is not played on the beat. This was a fun task, as I love rhythm. Hence, I became enthusiastic about the idea of teaching the new course, which I ended up naming “Rhythmic Synchronicity.” The title refers to the ability to play with rhythmic accuracy and synchronization in any situation (individually and collectively), from keeping a strong “groove” (steady pattern) by yourself to playing a synchronized rhythmic sequence with others.

This book follows the course, and includes a collection of rhythmic exercises I’ve developed to address “weak spots” not only for the younger music students, but also for professional musicians – spots I find of significant importance when it comes to feeling, understanding, and performing rhythm. The book exposes the reader to a rhythmic knowledge intended to sharpen awareness of the organization of rhythms and of ways to improve performing quality. As a consequence, the student of this book will be able to develop a stronger rhythmic bond in their own playing as well as a more cohesive and efficient interaction with other players. Gaining access to rhythmic synchronicity with oneself and others is the goal.

Even though all of the examples (exercises) in this book are written (notated), I strongly suggest trying to learn them (as much as you can) by memory, through repetition. I always advise my students to learn as many exercises as possible by memory so that they can practice them throughout the day, and without much preparation. By doing a few of these exercises throughout the day you will be able to start internalizing and feeling these patterns in a more fluid and relaxed way, as second nature.