Who is this rhythm book for? This book is for you--the struggling musician or the frustrated rhythm teacher. This rhythm music book is for you--the struggling musician, determined to confidently play, quarter note, rhythm patterns, by ear or sight, on your melodic or harmonic instrument. Or, for your music teacher, desperate for a rhythm pedagogy that guides you to elegantly study rhythm and discover your rhythm confidence. What is unique about this book? Firstly, this book does not try to to teach you every rhythm subject or every rhythm guitar vocabulary. This quarter note, rhythm exercises, book focuses you on talking one vocabulary of sixteen rhythms. That's it. Secondly, this rhythmisation book is properly formatted for new rhythm readers with big, easy to read notation pages, supported by easy to read rhythmisation syllables that are easy to see and read. Thirdly, this is a doing rhythm book. Not a thinking or theory one. This book aims to get this vocabulary installed and embedded in your brain and speech, so that you can use this rhythm on your instrument, in the next ninety-nine minutes. Fourthly, this rhythm patterns book is part of a series of rhythm books, each of which focuses on a single rhythm vocabulary. The laser focus ensures you finish the book with a series of practical (mental and speech) rhythm music skills that you can use immediately. Fifthly, this rhythm exercises book, supplements and complements the leading rhythm books available. Other books take you broad and wide. Rhythm books, like this one, drill you narrow and deep. Why should you read this book now? If you want to replace your rhythm uncertainty with rhythm confidence (in the next ninety-nine minutes) you should read this book now. Learning to talk, read, write and play this foundation rhythm vocabulary---in less than the next seventeen minutes---is a ridiculously achievable skill. Why wait a lifetime when you can do this seventeen minute job now? Then, talking this quarter note, rhythm vocabulary: across 33 rhythm conversations and 758 bars of word of mouth rhythms---in as little as the next seventy-two minutes---is as straight forward as straight forward gets. After you have talked this book in 99 minutes you can then talk Rhythm Book 102 Eighth Note Rhythm Patterns in 49 minutes. Then you can read Rhythm Book 103 Sixteenth Note Rhythm Patterns in 25 minutes. What You Will Learn From This Rhythm Learning Book You will learn: - to talk the first Rhythmisation vocabulary: the dobodobo quarter note rhythm patterns - the concept of rhythm levels, rhythm vocabularies, parent rhythm, derived rhythm and more - to talk dobodobo vowel durations, positional and silent consonants in 16 combinations - the principle of rhythmic alternation between strong and weak rhythm. - the concept of tempo rhythm to use with the dobodobo vocabulary - the concept of rhythmic density as a verbal and aural tool - how to read and write rhythm notation and read and write rhythmisation in plain english You will talk and experience - the 16 rhythm dobodobo quarter note rhythmisation vocabulary - 8 attack quarter note dobodobo rhythms and rhythmisations - 7 attack quarter note dobodobo rhythms and rhythmisations - 6 attack quarter note dobodobo rhythms and rhythmisations - 5 attack quarter note dobodobo rhythms and rhythmisations - 4 attack quarter note dobodobo rhythms and rhythmisations - 3 attack quarter note dobodobo rhythms and rhythmisations - 2 attack quarter note dobodobo rhythms and rhythmisations - 1 attack quarter note dobodobo rhythms and rhythmisations - 5 quarter note dobodobo syncopations native to the vocabulary - 758 one bar and 323 two bar quarter note phrases - all 758 bars in tempo between MM60 and MM128 After this book, you should read Rhythm 102 Eight Note Rhythm Patterns and master the next level of rhythm.
About the Author: I am Taura Eruera and I live in Grey Lynn, Auckland, New Zealand. Apart from a decade off in the 90's I have taught guitar continuously since 1982. That experience included teaching harmony, rhythm and guitar at the School of Creative Musicianship for six years followed by private teaching, seminars and clinics. Over the years I have written many titles for guitar, melody, harmony and rhythm instruction. My titles have been self published for in-house and private student consumption or for publication on self owned websites. Over this time my energy has been focused more on creation than distribution. Now with platforms like Amazon Kindle available, I am formatting my catalogue of work for wider distribution. Much of my writing has come out of my studies with Dick Grove, Howard Roberts and, more importantly, directly out of my teaching experience. I am grateful to a crazy diamond of a guitar player named Clash for being my pioneer rhythmisation Dobodobo guitar student, way back in the day. Clash reckoned that his skill in verbalising the Dobodobo's enabled him to put his strumming and picking hand on auto pilot. And make life that much easier for him at the Guitar Institute of Technology. Guitar teaching has been a major activity for me over the years. Teaching has always alternated with gigging and other activities in my work life: old school session work before the computer; transcription and lead sheet preparation and digital session work after computers came in. Then these activities extended to business consultation, business startups, founding roles in radio and health care companies, software development and search engine optimization services. Outside of guitar, my biggest teaching interest has been in the area of rhythm and rhythmisation. As a young teacher, I taught how I was taught: I taught harmony, first, second and third. It took me several years of teaching to understand that the main reason my students were not progressing as they should was because they were not learning, and being taught, rhythm. Teachers had the language to teach harmony but not rhythm. These days, for students ten and over, I teach rhythm first before I teach melody or scales. I teach them rhythm through rhythmisation and verbalisation. For these students I add notes to the rhythm rather than rhythm to the notes. It's amazing how much better students play notes or chords when they can place them on top of or inside a rhythm.