Sixteenth Notes
This is a sixteenth note and is equal to half an eighth note.
Therefore, two sixteenth notes equal one eighth note or four sixteenth notes equal one quarter note There are sixteen sixteenth notes in one bar of time.
Examples 44
Bass Part - This example uses sixteenth notes only.
Drum Part - The example below contains sixteenth notes between hi-hat and snare drum. A single stroke slicking is used and so on beats ‘2’ and ‘4’ the right hand moves from the hi-hat to strike the snare.
Examples 45
Bass Part - This example combines sixteenth notes and previously covered concepts.
Drum Part - The hi-hat and snare parts are the same as in example 44. The bass drum line however, is more syncopated, following some of the rhythmical aspects of the bass line.
The Sixteenth Note Rest
This is a sixteenth note rest and indicates silence for the count of one sixteenth note.
If the first note of a group of four sixteenth notes is (1) tied to another note or(2) replaced by a sixteenth note rest, then the following two rhythmical figures are produced:
Examples 46
Bass Part - The first rhythmical figure listed above is introduced in this example.
Drum Part - The sixteenth note hi-hat pattern is played with the right hand in this example.
If only the last note of a group of four sixteenth notes is played, then the following rhythmical figure is produced:
Examples 47
Bass Part - The second rhythmical figure shown at the top of the page, is introduced in this example.
Drum Part - The rhythmical figure explained above, is introduced into the bass drum line of this example.
Examples 48
Bass Part - Beat 1, bar 2, is anticipated by a sixteenth note in this example.
Drum Part - The anticipation played in the bass line is 'caught' by the bass drum in this example.
If only the first and fourth notes of a group of four sixteenth notes are played, then the rhythmical figures listed below are produced. The only difference between eachf is the length of the first note.
Examples 49
Bass Part - This example is a combination of rhythmical figures covered so far within this section.
Drum Part - The rhythmical figure (1) explained above is introduced in this example. An extra snare drum hit is added to beat '2 a'
Examples 50
Bass Part - The rhythmical figure (1) introduced on page 38, is used in this bass line.
Drum Part - The traditional 'backbeat' snare (beats 2 and 4) is not played in this example, as beat 4 is anticipated by one sixteenth note. If, as in this example, you are playing sixteenth notes between hi-hat and smare and using the single stroke sticking, any snare drum hit on beats 'e' ir 'a', is played with the left hand.
Examples 51
Bass Part - This example is a combination of rhythmical figures covered so far within this section.
Drum Part - This example is a combination of rhythmical figures covered so far within this section.
The first 3 beats ( 3 3 3 ) of information from bar one is then repeated with a fill being played over the fourth beat.
If only the first two notes of a group of four sixteenth notes are played, then the following rhythmical figures are produced. The only difference between each is the length of the second note.
Examples 52
Bass Part - The rhythmical figure (1) explained above, is introduced in this bass line.
Drum Part - The co-ordination of snare drum and bass drum is quite difficult in this example. Listening to the recording may be of benefit here.
If only the first three notes of a group of four sixteenth notes are played, the following two rhythmical figures are produced. The only difference between each is the length of the third note.
Examples 53
Bass Part - The rhythmical figure (2) explained above, is introduced in this example.
Drum Part - Beat '3 a' is emphasised by a hi-hat opening and a preceding fill, in this example.
If the second note of a group of four sixteenth notes is not played, then the following two rhythmical figures are produced. The only difference between each is the length of the first note.
Examples 54
Bass Part - The rhythmical figure (1) explained above, is introduced in this example.
Drum Part - In this example, many of the bass drum beats complement the bass line by being placed at points where the bass is either holding a note, or not playing at all. The left hand plays sidestick instead of snare drum.
If only the last two notes of a group of four sixteenth notes are played, then the following rhythmical figure is produced.
Examples 55
Bass Part - The rhythmical figure explained above, is introduced into this bass line.
Drum Part - The hi-hat openings add forward motion' and rhythmic interest to this example.
Examples 56
Bass Part - This example is a combination of rhythmical figures covered so far within this section.
Drum Part - This example uses a small tom-tom on beat '2 +' to add to the orward motion?of the groove.
If only the second note of a group of four sixteenth notes is played, then the following rhythmical figures are produced. The only difference between each is the length of the note.
Examples 57
Bass Part - The rhythmical figure (2) explained above, is introduced in this example.
Drum Part - This pattern uses an offbeat ride cymbal pattern with an accent on beat '4 e' being played on the ride cymbal bell and bass drum.
Examples 58
Bass Part - The only difference between bars 1 and 2 in this example, is the rhythmical placement of the last note.
Drum Part - This drum part closely follows the rhythmic pattern of the bass line above.
If only the second and third notes of a group of four sixteenth notes are played, then the following rhythmical figures are produced. The only difference between each is the length of the second note.
Examples 59
Bass Part - The rhythmical figure (2) explained above, is introduced in this example.
Drum Part - This groove incorporates a syncopated bass drum line and two hi-hat openings.
Examples 60
Bass Part - This example uses the above mentioned rhythmical figure on a different beat in each bar.
Drum Part - The bass drum part in bar lf is technically difficult in this example due to two groups of two sixteenth notes placed close together.
If the third note of a group of four sixteenth notes is not played, then the following two rhythmical figures are produced. The only difference between each is the length of the second note.
Examples 61
Bass Part - The rhythmical figure (1) explained above, is introduced in this example.
Drum Part - Many left hand snare drum hits are used in the syncopated snare drum line of this example.
Examples 62
Bass Part - This example uses a number of previously covered concepts.
Drum Part - Both bass drum and snare drum are very syncopated in this example.
If only the second and fourth notes of a group of four sixteenth ⑴ notes are played, then the following rhythmical figures are produced. The only difference between each is the length of the first note.
Examples 63
Bass Part - The rhythmical figure (1) explained above, is introduced in this example.
Drum Part - This example introduces a new repetitive hi-hat rhythm. The effect is achieved by playing the rhythm and sticking introduced in exercise 44, and then leaving out every beat 'e' in the left hand.
Examples 64
Bass Part - This example uses a number of previously covered concepts.
Drum Part - This example uses a quarter note ride cymbal bell pattern.
Examples 65
Bass Part - This example uses a number of previously covered concepts.
Drum Part - This pattern uses a combination of hi-hat and ride cymbal bell. The bell is played on every beat '+' adding to the forward motion of the groove.
