Lyrics, Rhythm of Life Lyrics [1]Sweet Charity soundtrack, Sweet Charity lyrics Browse by soundtrack Search in soundtracks Browse by artist name [2]A [3]B [4]C [5]D [6]E [7]F [8]G [9]H [10]I [11]J [12]K [13]L [14]M [15]N [16]O [17]P [18]Q [19]R [20]S [21]T [22]U [23]V [24]W [25]X [26]Y [27]Z [28]# ____________ Search [29]A [30]B [31]C [32]D [33]E [34]F [35]G [36]H [37]I [38]J [39]K [40]L [41]M [42]N [43]O [44]P [45]Q [46]R [47]S [48]T [49]U [50]V [51]W [52]X [53]Y [54]Z [55]# [0.gif] - Rhythm of Life Lyrics Ensemble: Daddy started out in San Francisco, Tootin' on his trumpet loud and mean, Suddenly a voice said, "Go forth Daddy, Spread the picture on a wider screen." And the voice said, "Brother, there's a million pigeons Ready to be hooked on new religions. Hit the road, Daddy, leave your common-law wife. Spread the religion of The Rhythm Of Life." And The Rhythm Of Life is a powerful beat, Puts a tingle in your fingers and a tingle in your feet, Rhythm in your bedroom, Rhythm in the street, Yes, The Rhythm Of Life is a powerful beat, To feel The Rhythm Of Life, To feel the powerful beat, To feel the tingle in your fingers, To feel the tingle in your feet, Daddy, spread the gospel in Milwaukee, Took his walkie talkie to Rocky Ridge, Blew his way to Canton, then to Scranton, Till he landed under the Manhattan Bridge. Daddy was the new sensation, got himself a congregation, Built up quite an operation down below. With the pie-eyed piper blowing, while the muscatel was flowing, All the cats were go, go, go-ing down below. Daddy was the new sensation, got himself a congregation, Built up quite an operation down below. With the pie-eyed piper blowing, while the muscatel was flowing, All the cats were go, go, go-ing down below. Flip your wings and fly to Daddy, Flip your wings and fly to Daddy, Flip your wings and fly to Daddy, Fly, fly, fly to Daddy, Take a dive and swim to Daddy, Take a dive and swim to Daddy, Take a dive and swim to Daddy, Swim, swim, swim to Daddy Hit the floor and crawl to Daddy, Hit the floor and crawl to Daddy, Hit the floor and crawl to Daddy, Crawl, crawl, crawl to Daddy, And The Rhythm Of Life is a powerful beat, Puts a tingle in your fingers and a tingle in your feet, Rhythm in your bedroom, Rhythm in the street, Yes, The Rhythm Of Life is a powerful beat, To feel The Rhythm Of Life, To feel the powerful beat, To feel the tingle in your fingers, To feel the tingle in your feet, To feel The Rhythm Of Life, To feel the powerful beat, To feel the tingle in your fingers, To feel the tingle in your feet, Flip your wings and fly to Daddy, Take a dive and swim to Daddy, Hit the floor and crawl to Daddy, Daddy we got The Rhythm Of Life, Of life, of life, of life. Yeah! Yeah! Yeah! Man! 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Music Of Other Climes [7]page up: The Rhythm Of Life | by Charles Brodie Patterson [8]next page: Music Of Other Climes. Part 3 [trans_pix.gif] [trans_pix.gif] Music Of Other Climes. Part 2 [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] [trans_pix.gif] Search ______________ Search Titles * [9]Animals * [10]Architecture * [11]Arts * [12]Business * [13]Computers * [14]Crafts * [15]Finance * [16]Flora and Plants * [17]Cooking * [18]Gardening * [19]Health and Healing * [20]History * [21]Home Improvements * [22]Languages * [23]New Age * [24]Novels * [25]Real Estate * [26]Reference * [27]Religion * [28]Science * [29]Society * [30]Sports * [31]Travel * [32]Outdoors * [33]Site Listing Discover * [34]Find Articles * [35]FAQ Help Tutorials * [36]Travel Articles Description This section is from the book "[37]The Rhythm Of Life", by Charles Brodie Patterson. Also available from Amazon: [38]Rhythm of Life. Music Of Other Climes. Part 2 Aristoxenus, an early Greek critic of prosody, distinguished the elements out of which rhythm is composed as: the spoken word, the time of [39]music in song, and the bodily [40]motion. And he defined rhythm so produced as an arrangement of the time periods. The art of the early Greek poets was devoted to a harmonious combination of language, instrument, and gesture, the whole three uniting to form perfect rhythm. Ages ago it was known that rhythm could be put into everything we do with the greatest advantage, so that no matter what work one may be engaged in, the rhythmic way of doing it is the easiest as well as the most graceful. Pythagoras, who lived some six hundred and fifty years before Christ, and is considered one of the greatest of early mathematicians, believed that the universe was created by music. It is said he taught that not the ear, but mathematics, should be the guide in music. He was apparently one of the first Greeks to teach the music of the spheres, and had a scale in which the Moon, Mercury, Venus, the Sun, Mars, Jupiter, and Saturn corresponded to the notes E, F, G, A, B, C, and D, of which the Sun formed the middle or the controlling note; thus we can see that the music of 2500 years ago was, in one sense, derived from the heavens, and that heavenly bodies were used as symbols of musical sounds. Unquestionably Greece laid the foundation of her civilisation in music, and the other Muses constituted different degrees of the one great fundamental note that ruled through all from first to last. It is music that comes through man's ear in sound, and it is music that comes through man's eye in colour. Musical sound vibration and musical colour vibration underlie all [41]nature, and give beauty to all life. Take music and colour out of the world and we have a dead world, a world without a soul. The nation that is devoid of the musical sense, so that it neither creates nor loves music, has lost its soul. And the individual who has not awakened to a love of music and colour has not yet found his soul. We feel music and colour far more than we see or hear them. The greatest beauty of sound or colour is a revelation to the soul of man rather than something derived through his sense nature. Greece was a great nation so long as she continued to use the divine principles of rhythm, melody, and [42]harmony in everything she felt, thought, and did. From the time she began to lose these principles, there came a decline. But the spirit which once animated the Greek people did not die; it lives on, and will continue to live on until there shall come a civilisation even greater than that of the Greeks. As Jesus was a prophecy of what man must become, so Greece was a prophecy of what the whole world shall yet become. When we write of the music of the past, let us remember that music is without beginning or ending, that it lives in the heart of the Infinite, that the demand can never exceed the supply. Moreover, the world can have the music it desires if it is willing to seek it. But the things that heart and mind desire are not brought into being without an effort on the part of those desiring them. We must bring of what we have to bear on that which we desire to have; for everything we receive, there must be something in the nature of an equivalent given. We can have what heart and mind desire, when we use heart and mind and bodily effort to get it. It was Plato who said: "The soul which has seen the most of truth shall come to the birth as a philosopher, or artist, or musician, or lover." It is through seeing the most of truth and expressing all that we are able to see that there comes the new birth, the new zeal, the new knowledge. Love music for the love of music; love beauty for the love of beauty, and music and beauty will become redoubled, as it were, in your life. If we are going to secure from life all that is highest and best, then we must bring to life all that is highest and best. We cannot barter the unlovely for the lovely, or the unwholesome for that which is wholesome, the discordant for the harmonious. No, it is like that attracts like. Give all the melody that is in your life to the world, and a still greater melody will flow back into it. Give to the world the best, and give only the best, then shall you receive the best. With the decline of music in Greece, there was a long period when the progress of music seemed to have come to an end. The world came under the thraldom of the Roman Empire, and the Muses, save in the most external way, failed to prove of interest to the people. With the coming of materialism into any country, the death-knell of beauty is sounded. The Roman Empire was noted for its building of wonderful roads, and the carrying on of great wars; but it paid little attention to all that goes to make life truly great or beautiful. True it is that, under some of the emperors of Rome, art flourished more than it did under others. With the advent of Christianity as the national religion of the Roman Empire, it might be thought that the Christian Gospel of peace and goodwill would have brought with it something of the true music of life; but there is little evidence that the change from Roman barbarism to Christian civilisation wrought any marked change in the art of the day. Undoubtedly all the persecutions and the curtailments of the religious rights of the early Christians had much to do with keeping them from expressing themselves through music. There were doubtless many other reasons besides this. The majority of them were made up of the poorer classes and it is doubtful whether, even under ordinary circumstances, they would have been able to have expressed themselves through music. It was during the fourth century A.D. that Ambrose, Bishop of Milan, made the first real effort to produce Church music, and he seems to have met with considerable success; later, Pope Gregory the Great carried on still further the work begun by Ambrose. But comparatively little of what might be called good music was produced until the middle or end of the fourteenth century. From that time on the growth of music is a continuous one, and Italy takes a very prominent part; not only did she lay a new foundation of musical art, but she has continued on through the centuries without any break in her career, so that I think it may truthfully be said that the knowledge and love of music possessed by the Italians has not been exceeded by the people of any other nation in modern times. 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[6]Customize feed [7]Science and technology news * [8]Home * [9]Nanotechnology * [10]Physics * [11]Space & Earth * [12]Electronics * [13]Technology * [14]Chemistry * [15]Biology * [16]Medicine & Health * [17]Other Sciences * [18]Psychology & Psychiatry * [19]Research * [20]Medications * [21]Cancer * [22]Genetics * [23]HIV & AIDS * [24]Diseases * [25]Other * [26]Health * [27]Neuroscience Keeping the rhythm of life in sync May 28, 2008 Beyond symbolically holding our feelings of love and compassion, the heart is a very efficient pump with a steady beat that provides the rhythm of life. Abnormal rhythm in the heart is a condition known as cardiac arrhythmia. A normal heart beats between 60 and 100 times per minute. It goes faster if needed for exercise or to handle emotional or physical stress. The heart beat is regulated by a complex and specialized electrical system that runs through the heart muscle. The muscle itself is indeed electrically active. Alterations in the normal electrical system of the heart and its regulatory mechanisms lead to arrhythmias. These could be too fast, too slow, or irregular. All forms of arrhythmia can cause problems. Patients with abnormal heart rhythms can suffer a variety of health issues. Different people may experience arrhythmias in different ways. Some may have an abnormal rhythm and not even know it. Fatigue, dizziness, lightheadedness, palpitations, heart racing, chest pressure, fainting spells, episodic blurry vision, shortness of breath, swelling of the legs, strokes, heart attacks or sudden death can occur because of abnormal heart rhythm. To evaluate the electrical system of the heart and identify its relation to the symptoms patients may have, physicians use an electrocardiogram. This diagnostic test allows us to look in real time at the graphic tracing of the electrical activity of the heart by placing electrodes on the skin. Most commonly, the arrhythmias occur intermittently and it may be difficult to catch an episode with an electrocardiogram. In this case, other tests may be ordered. One is an electrophysiology study, in which electrodes are placed inside the heart through a form of heart catheterization. Cardiologists with rigorous training in the specialty of electrophysiology can treat rhythm disorders with drugs, catheters, or implantable devices. Catheter ablation is the procedure that allows doctors to thread a catheter through veins in the groin to areas inside the heart where abnormal electrical connections or scar tissue are causing arrhythmias. The catheter then delivers heat or freezing temperatures to these abnormal areas, and tissue is selectively destroyed to prevent the recurrence of the arrhythmia. Implantable devices are sometimes needed to stimulate the heart when the natural pacemaker or the heart's electrical system is not functioning and the heart beats too slow. More complex pacemakers can be used in selected patients with a weakened heart muscle to resynchronize the beating of the chambers of the heart and restore some of its pumping function. Implantable defibrillators can save lives when patients at risk of dangerous arrhythmias collapse from a rhythm that is too fast. The device, a small implantable computer, identifies the abnormality and delivers an electrical shock to restore the normal rhythm. Correcting abnormal heart rhythms can relieve discomfort, prevent disability, prolong life, and frequently allows patients to go back to their normal daily living. Penn State Hershey Heart and Vascular Institute has a team of heart rhythm specialists and the most advanced treatments available to help restore the heart rhythm ... to help restore the rhythm of life. For more information, visit [28]http://www.pennstatehershey.org/rhythm Source: Penn State, By Javier Banchs [29]print this article [30]email this article [31]download pdf [32]blog this article [33]bookmark this article [34]Stumble it [35]Digg this [36]share on Facebook [37]retweet [38]share on Reddit [39]add to delicious Rate this story - 4.5 /5 (4 votes) * rank * [40]1 * [41]2 * [42]3 * [43]4 * [44]5 [45]view popular Rank Filter _ (Submit) Filter (Submit) Off Move the slider to adjust rank threshold, so that you can hide some of the comments. Display comments: [46]newest first * [47]Sepp - May 29, 2008 + Rank: 1 / 5 (1) "...the heart is a very efficient pump with a steady beat that provides the rhythm of life..." Why do we call the heart a "pump" when its principal function is just to give rhythm to a natural circulatory flow of the blood through our system of vessels. It isn't pressurization by the heart that makes the blood circulate. Picture miles and miles of blood vessels getting ever smaller along the way until they are capillaries, then, after supplying blood to tissues, these capillaries gradually open up to become veins. No amount of pressure - even if the heart was capable of supplying it - could squeeze that liquid through such lengthy and thin pipes. It is _rhythm_ we get from the heart, and indeed the article is all about that. So let's find a better term than the misleading word "pump" to describe the heart. What about "metronome"? + [48]report abuse + o Current rank o [49]1 o [50]2 o [51]3 o [52]4 o [53]5 * [54]bmcghie - May 29, 2008 + Rank: 4 / 5 (1) Sorry Sepp, but the heart does supply pressure. That's it. If you don't think that it can generate enough pressure... you are wrong. Your body does a VERY good job of dilating the required vessels, and constricting others to optimize the use of this pressure, and also takes advantage of skeletal muscle movement to help blood return to the heart... but the bottom line is the heart is ONLY used to generate pressure. Resulting fluid movement occurs due to the vessels and their levels of constriction/dilation. As for your "miles and miles"... yeah, if your blood is too thick, as sometimes occurs with blood doping athletes abusing drugs... the thicker blood becomes harder to pump, leading to localized flow loss in some areas, which triggers blood clotting. I apologize if this sounds a little heavy handed, but you really need to do some reading if you understand the heart to be ANYTHING but a massive pump sitting in your chest. I suggest wikipedia-ing "circulation" or taking a highschool biology class. + [55]report abuse + o Current rank o [56]1 o [57]2 o [58]3 o [59]4 o [60]5 * [61]print * [62]email * [63]pdf * [64]txt * [65]blog * [66]bookmark * [67]aA * [68]Aa May 28, 2008 [69]all stories Comments: [70]2 * rank * [71]1 * [72]2 * [73]3 * [74]4 * [75]5 4.5 /5 (4 votes) * [76]Stumble this up * [77]share on Facebook * * [78]Digg this * [79]retweet * * [80]share this * share on Facebook [81]Facebook * retweet [82]ReTweet * share on MySpace [83]MySpace * share on Slashdot [84]Slashdot * share on Google [85]Google * share on Reddit [86]Reddit * add to delicious [87]Delicious * save to Yahoo! bookmarks [88]Yahoo! bookmarks * share on Windows Live [89]Windows Live * Add to Mixx! 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Rhythm Of Life lyrics (Chorus)Get down to the rhythmKeep on movingDown to the rhythm of life Get down to the rhythmYou know you can do itIt's the rhythm of life Better get yourself togetherGotta make you're mind up soon Now that time is running out on youIf you're lostThen I'll find you I'll be right behind youAnd you knowI can catch you when you fall(Chorus) If you're feeling lost and lonelyYou know I can ease your pain Never have to be that way againJust believe you can make it The chance is there so take itIt's your lifeSo don't let it pass you by(Chorus) Get down to the rhythmGet down to the rhythmGet down, get down, get down (repeat x2)(Chorus (x3) to fade) [phone_left.gif] [109]Send "Rhythm Of Life" Ringtone to your Cell Phone! 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May 19, 2008 [*bilde.jpg] 5 most recent columns January 11, 2010: [8]Music Therapy Experience in a Public Hospital. By Diego Schapira December 28, 2009: [9]The Honor of Sharing Our History. By Barbara Wheeler December 14, 2009: [10]Challenges on Music Therapy Clinical Practice. By Lia Rejane Mendes Barcellos November 16, 2009: [11]Keeping Music Close to Nature. By Sarah Hoskyns November 2, 2009: [12]Some Thoughts on Being a White Music Therapist. By Helen Oosthuizen Sound, Rhythm, Life Symphony By Gabriella Giordanella Perilli () 1st Movement: Introduction and Allegro When I think about my life, I have an image of waves moving rhythmically, at different levels and in different directions, each producing different sounds. These sounds reflect me interacting with other people in various environments. Perhaps I have developed this metaphor as a musician trying to understand what is going inside and around me emotionally. It is a kind of an ecological perception in which each wave, whether sonic or emotional, becomes a meaningful presence. I was astonished the first time I heard the recorded sounds of planets and the composed music sent to Voyager as witness of our human civilization and cultures. While the aural perception of music on this planet is made possible by human sensory organs and functions, in other parts of the Universe perhaps music is a mathematical code immediately grasped by intelligent minds. This leads me to think that space is not empty or chaotically immeasurable; rather it is filled with rhythm, and sounds - or electromagnetic waves. Curiously, the immense space of the universe is not threatening for me as before. Once a very different experience happened at my physician's office, when I first heard my own blood pulsing through my veins, during an echo Doppler imaging. The incessant bubbling flow seemed to nurture each cell in my body, with dynamic contours and peaks of intensity arising randomly, above the background sound. Meeting outstanding people in the Music Therapy field, like Helen Bonny and Ken Bruscia, allowed me to reach a deep level of understanding of sound and rhythm and how they embed our lives. That opened terrific scenarios I could never imagine before. 2nd Movement: Adagio Maestoso Suddenly my mind diverges from such pleasant experiences and goes to a patient of mine, suffering from a severe kind of autistic syndrome. That young man felt people as if they were electrical appliances, making irritating noises. It seemed as if he could perceive when a person had some health or emotional problem which, for him, made unbearable sounds. In such occasion he became very anxious, crying aloud while lying down, moving his body as if tortured by those dangerous noises. When his psychodynamic therapist introduced me to this young man, she told me about an unusual behavior of his. Quite often, during a therapy session, he made vocal sounds while rhythmically wringing his hands. His sounds were so emotionally intense that their message--"Help!"--seemed to flood my being. How could I participate in a meaningful way to share his anxiety and at the same time modify it safely? I decided to experiment with adding my own vocalizations (with overtones) to his. He was very surprised to hear my sounds and his together. We used to tape our nonverbal dialogue and, afterwards, listen to it with curiosity. That became part of our music therapy session: no longer did he isolate himself; instead he accepted vocal interactions with me first, and, then, with other people outside. My opinion was that, by these interactive music experiences, he developed a better selective attention function so that he was able to process only the meaningful sounds, distinguishing them from the huge amount of incoming stimuli. Finally he could enjoy being with people, without being overwhelmed by their presence and their annoying sounds. In contrast, sounds could not be shut off or avoided in the delusional experiences of schizophrenic patients that had I met previously in a Mental Health Community Center. Terrifying voices and crashing sounds were always present in their heads, unless we played music that they liked. Listening to such moving music transformed the perceived nasty words into supportive ones, so that they could feel relieved from their painful situation: the green color of their face turned on in a light pink together with a smile illuminating their eyes. Other examples of unforgettable sounds in my own life come to mind: the roar of bombs exploding during the Second World War, and our neighbors' desperate cry for the deportation of their close relatives. In both situations, my mother took great care to help me to cope with these dramatic events so that as a child I could not be overwhelmed by fearful or anxious sounds. She guided me through each fearful event with a brave heart, looking for strength and possible resources. I was grateful to her then; and later as a music therapist. I particularly appreciated my mother's insights when I began to work with clients in Guided Imagery and Music (GIM), wherein a client may experience similarly difficult and tragic situations. The guide has to be a supportive, trustful presence that allows the client to cope with and explore the situation to discover and develop potentialities available to the client. Every GIM session affords the client and therapist with inexhaustible and surprising alternatives for healing: the rhythm of life is embodied in human beings as well as the environment; music can evoke motion and emotion, while also producing amazing levels of awareness and different states of consciousness necessary for improving quality of life. 3rd Movement: Trio In Hamburg, during the 8th World Congress, Maturana presented his idea which considers that a good development of each system is possible when there is coherence between its internal parts, and it and its environment. Human beings and their environment are in constant interaction. In this way they influence each other with mutual perturbation which trigger off structural modification in each system. Change has to occur at the same time, in a consensual domain of structural coupling, and, he said, this can happen, for example, with rhythm entrainment and music. As I have observed in GIM sessions, the music evokes but does not determine the nature of personal modification. Any change is produced by each individual in a independent and unique way, based on subjective readiness and level of development, as well as the need to maintain the structural characteristics (autopoiesis) and to avoid disintegration. To reach that goal of integrity and coherence, our brain organizes schema to structure and order internal and external events using rhythmic patterns or subjective tempo, both of which are self-referential and carry our own personal meaning. Those temporal structures have a neurophysiological basis, and seem to be biologically determined; moreover, from a psychological point of view, they follow an evolution similar to early psychophysical experiences with a caregiver and the social environment. In some way, those temporal patterns may influence our music perception and evaluation by comparison between the inner and outer different temporalities. As Oliver Sachs says, our brain is a musical score; thus interaction with sound and rhythm is both natural and functional. Neurosciences enlarge our horizon regarding music and the brain, showing that numerous areas are involved in processing musical stimuli. The music effect on human beings and on their self-definition process is, partially, due to the emotional response to music. Musical behavior and musical cognition are expression of the metaphorical process by which our knowledge evolves. The musical behavior and cognition prove that concepts become meaningful because they are associated with embodied functions. It is important to understand that what we call an abstract thought depends from our sensory and motor experiences. By consequence, music, which seems to be the most abstract form of artistic expression, may be considered the most embodied one, reproducing and stimulating rhythm, motion, emotion, and metaphorical thinking. Moment by moment, music builds up both time flow and its duration. Unfortunately, this is not experienced by people with Alzheimer, because their subjective tempo, or internal clocklike system, processes separate instances in an atemporal fashion. In that pathological situation, only sensory and emotional memories seem to function. They do not mentally grasp the present, nor can they demonstrate the capacity of the human nervous system to maintain its viability and integrity from instant to instant, as described in T. Fraser's theory. There is no more the noetic experience of time which combines ideas about present, past, and future necessary to define and construct a conscious unity of selfhood. By hearing music, Alzheimer patients could answer, emotionally, in the instant articulated and defined by music itself. In this experience they can live the organic present in which is still possible to maintain coherence among their biological clocks. And, thus, they can still feel joy. 4th Movement: Finale Allegro con brio All the above experiences stimulated and sustained me in trusting the efficacy of music to enhance human quality of life, in spite of criticism and depreciation expressed for years by some colleagues of mine as far as music therapy. At the same time other colleagues shared my ideas, and appreciated my work. By consequence with their support my dream came true. So that I succeeded to bring music therapy, particularly the Bonny Method of Guided Imagery and Music, at the highest academic level in Italy, founding the post graduation Institute named "School of Psychotherapy and Integrated Music Therapy - SPIM" to train psychologists and physicians in this field. This is my life a meaningful kinetic Symphony moved by, through, and with a sonic universe of feelings evoked by rhythm, sounds, and music. References Bruscia, K.E. & Grocke, D.E. (Eds.) (2002). Guided Imagery and Music: The Bonny Method and Beyond. Gilsum NH: Barcelona Publishers. Fraser T. (1990). Of Time, Passion, and Knowledge: Reflections on the Strategy of Existence. Second edition. Princeton: Princeton University Press. Johnson, M. (1987). The Body in the Mind. The Bodily Basis of Meaning, Imagination, and Reason. Chicago: The University of Chicago Press. Maturana, H.R. (1970). Biology of Cognition. Urbana: University of Illinois. To cite this page: Perilli, Gabriella (2008). Sound, Rhythm, Life Symphony. Voices: A World Forum for Music Therapy. Voices: A World Forum for Music Therapy. Retrieved from http://www.voices.no/columnist/colpirelli190508.php Moderated discussion Add your comments and responses to this essay in our Moderated Discussions. 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[5]Home 2. [6]Education 3. [7]Shakespeare [8][education_shakespeare;kw=;site=shakespeare;chan=education;pos=lb;sz =728x90;ord=1A1HKZ80M20SA1n0T] * [9]Share * * [10]Shakespeare * [11]Shakespeare's Life * [12]Plays * [13]Sonnets * Free Shakespeare Newsletter! ____________________ (Submit) Sign Up * [14]Discuss in my Forum [15]Lee Jamieson Lee's Shakespeare Blog By [16]Lee Jamieson, About.com Guide to Shakespeare * [17]My Bio * [18]My Blog * [19]My Forum Add to: * [20]iGoogle * [21]My Yahoo! * [22]RSS Iambic Pentameter: The Rhythm of Life? Sunday March 22, 2009 [bencrystal.jpg] Does the thought of [23]iambic pentameter terrify you? I remember being baffeled by it at school myself because I got bogged down in counting syllables and working out where the stresses go but, I now know that this is a very technical way of studying iambic pentameter. In later life, Ive grown to love iambic pentameter. Theres something beautiful about it that I cant put my finger on. I know for sure that its in the speaking because on the page it is inert. When you [24]speak those words aloud, they literally jump off the tongue and the rhythm is the easiest of all meters to find. I asked Ben Crystal about this [25]in our interview a few months ago. He said that iambic pentameter is the rhythm of our English language and of our bodies a line of that poetry has the same rhythm as our heartbeat. A line of iambic pentameter fills the human lung perfectly, so its the rhythm of speech. I think this is true. When you [26]learn how to speak verse, you soon discover that its a very instinctive rhythm. Once you relax and go with the flow, it comes naturally. And, strange as it might sound, classic iambic pentameter lines like If music be the food of love, play on and Now is the winter of our discontent do happen to fit a single breath perfectly if spoken with passion. So, if youre having trouble with iambic pentameter, remember that its designed to be spoken, not studied. Open your mouth and speak aloud those great words. Photo of Ben Crystal © Scott Wishart * [27]Comments (2) * [28]See All Posts * [29]Share * [30]Prev * [31]Next [32]Leave a Comment Comments March 30, 2009 at 2:29 pm [33](1) [34]Kent Richmond says: In doing verse translations of five Shakespeare plays, I have had to learn how Shakespeares iambic pentameter works in order to give my translations the feel of the original. One of the beauties of iambic pentameter is that the poet can temporarily relax the meter without violating it. In this series of made-up and rather prosaic lines, the first line is straight-ahead iambic pentameter. The second and third lines, if read independently, are less obviously iambic pentameter, yet they do not violate the rhythm. The fourth line is clearly unmetrical and removes the sense that we are listening to verse. 1. Her mother took the kids to shop for clothes, 2. Planning to buy them all some warmer sweaters. (trochaic start; feminine ending) 3. No! No! No! No she bellowed at the oldest. (Two spondees to start; feminine ending) 4. Dont you ever hit your little sister. (unmetrical) Shakespeare, at least in the plays I have translated, did not write verse lines with the rhythm of (4). To make this line sound a bit more like Shakespeares iambic pentameter, we need to make a few alterations to line 4. 1. Her mother took the kids to shop for clothes, 2. Planning to buy them all some warmer sweaters. 3. No! No! No! No she bellowed at the oldest. 4. Dont ever hit that little girl again. To make the whole passage sound like prose, we need to change the first line a little. Then her mother took the kids clothes shopping, planning to buy them all some warmer sweaters. No! No! No! No she bellowed at the oldest. Dont you ever hit your little sister. The first and fourth lines now have trochaic feet exposed in the wrong places, and most editors would print such a passage as prose. Shakespeares iambic pentameter certainly places constraints on what rhythms are allowed, yet it allows for flexibility and naturalness. Take a look at George Wrights book titled Shakespeares Metrical Art to see the techniques Shakespeare employed. April 11, 2009 at 8:25 pm [35](2) Dave says: The words literally jump off the tongue? I'd like to see that! 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http://shakespeare.about.com/od/shakespearebasics/Shakespeare_Basics.htm 59. http://shakespeare.about.com/od/shakespeareslife/Shakespeares_Life.htm 60. http://shakespeare.about.com/od/theplays/The_Plays.htm 61. http://shakespeare.about.com/od/thesonnets/The_Sonnets.htm 62. http://shakespeare.about.com/od/shakespeareinperformance/Shakespeare_in_Performance.htm 63. http://shakespeare.about.com/od/theglobe/The_Globe_Theater.htm 64. http://shakespeare.about.com/od/auditionspeeches/Audition_Speeches.htm 65. http://shakespeare.about.com/od/criticism/Criticism.htm 66. http://shakespeare.about.com/od/shakespeareslegacy/Shakespeares_Legacy.htm 67. http://shakespeare.about.com/od/triviaquizzes/Trivia_Quizzes_and_Quotations.htm 68. http://shakespeare.about.com/od/glossary/Shakespeare_Glossary.htm 69. http://dinosaurs.about.com/od/dinosaurdiscovery/tp/decade-dinosaurs.htm 70. http://dinosaurs.about.com/od/dinosaurdiscovery/tp/decade-dinosaurs.htm 71. 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Music games Drums online games [2]Drums music machine free online music game [3]Drums player Online music machine [4]Drums map Drum flash movie [5]Music machine Ear music training [6]Drums editor Online drum game Music online games [7]Music Free online game Try to repeat music. [8]Ear training 01 Free music game [9]Piano note Free online teacher [10]Chords piano Write chords. then play the melody. [11]Sound memory Improvement free game. Listen music. Then try to repeat it. [12]Draw lessons How to draw free lessons [13]Online games Actions, Shooter, Logic online games [acleardot.gif] [acleardot.gif] What is music rhythm? The music rhythm is the beat. It is the most important element in music. It drives the music forward. It is the gasoline of music. Rhythms can be simple or complicated. Essential music vocabulary Meter It's the way we group the beats. We group eggs by the dozen. We group days by the week. We also group beats into two's or three's. That's meter. Rhythm The beat. The beat can be even or uneven, steady or unsteady. Note Values Long and short sounds in music are represented by notes. White notes have longer sounds than black notes. Tempo This is the speed of the music. Time Signature This is a number that appears at the beginning of the music. The top number tells you how many beats are in each measure (bar) and the bottom number tells you what kind of a note gets one beat. The most common times signatures are 4/4, 3/4, 2/4, and 6/8. Whole music notes These notes are whole notes. Each note is four beats long. Click the image to hear the note value. [14][whole.gif] Half music notes Here are half notes. Did you see the stems? These notes are twice as fast as whole notes. These note are two beats long. Click the image to hear the note value. [15][half.gif] Quarter music notes These notes are black. They are quarter notes. Each quarter note gets one beat. How many beats are in each measure? If you guessed four, you'd be right! Click the image to hear the note value. [16][quarter.gif] Eighth music notes These are eighth notes. Notice how the stems are connected by a beam. These notes move twice as fast as quarter notes. Two note are played for each beat of music. Click the image to hear the note value. [17][eighth_.gif] Combining Note Values In 4/4 time, different note values can be combined in each measure as long as they equal four beats. Click the examples to hear the rhythm patterns: [18][combo2.gif] [19][combo3.gif] [20][combo4.gif] Music tempo Tempo means speed. Musicians use Italian terms for different tempos. Here is a melody fragment. Click the image to hear the tune: [21][example.gif] Click the words below to hear this tune played at different tempos. Slow Medium Fast Largo Largo is the slowest tempo. Adagio Largo means slow or leisurely. Andante Andante means a walking pace. Moderato Moderato is medium. It is not too fast or too slow. Allegro Allegro is fast. It means cheerful in Italian. Vivace Vivace is quick and lively. Presto Presto is very fast. Meter Meter is how we hear the groupings of beats in music. Music will be in an even meter (groupings of 2's or 4's) or an odd meter (groupings of 3's). Even Meters Are Groupings of 2 Beats A [22]march is played in a meter of 2, which makes it an even meter. That means you will hear the beats of the march move in patterns of two's. Odd Meters Are Groupings of 3 Beats A [23]waltz is played in a meter of three, which makes it an odd meter. That means you will hear the beats of the waltz move in patterns of three's. Can you hear meter in music? Click the examples below to identify whether you hear the music moving in groups of two's or three's. [24]Example 1 [25]Example 2 [26]Example 3 [27]Example 4 [28]Example 5 Time Signatures The time signature helps us group the notes so we don't get lost. It's the way we organize beats in music. It's like grouping eggs by the dozen or days by the week. The top number tells us how many beats we can have in one measure. In 4/4 time we have four beats in each measure. What was the time signature in all of all the examples above? Remember this: A beat is not the same thing as a note. Notes can have more or less than one beat. A whole note in 4/4 time has four beats. A half note in 4/4 time has two beats. An eighth note in 4/4 time has just 1/2 beat. It takes two eighth notes to make one beat in 4/4 time. Time signatures and meter: The time signature will tell you the music's meter. If you can divide the top number by two, the music is in an even meter. If you can divide the top number by three, the music is in an odd meter. Let's look at some popular time signatures and see if we can add up the beats in each measure. 4/4 Time (Common Time) [Common_time.gif] Did you notice the number at the beginning of all the examples above? That's the time signature. It's 4/4. That means that there are four beats in each measure and the quarter note gets one beat. This time signature is also called Common Time because it is the most popular time signature in music. Listen to [29]Somewhere Over the Rainbow from The Wizard of Oz. It's in 4/4 time. Each measure equals four beats. It is in an even meter. [30][rainbow.gif] 3/4 Time (Waltz Time) [Three_four.gif] A 3/4 time signature would only have three beats per measure. Here is what it looks like. Listen to [31]America played in 3/4 time. 3/4 is also called waltz time. Did you notice the dots after some of the notes. Dotes make the notes longer. This song is in an odd meter because there are three beats per measure. [32][amaerica.gif] 2/4 Time [Two_four.gif] A 2/4 time signature has just two beats per measure. It looks like this. Listen to [33]You're a Grand Old Flag in 2/4 time. Do you see the line connecting the last two notes. It is called a tie. What is the meter of this song? Look at the time signature for your answer. [34][grand.gif] 6/8 Time [Six_eight.gif] A 6/8 time signature has six beats per measure. The bottom number is 8. This tells you that the eighth note gets one beat. Do you recognize the song [35]Follow the Yellow Brick Road from The Wizard of Oz? It's in 6/8 time. This song goes fast, making it sound like 2/4 rather than 6/8 time. This time signature can sound like an even or odd meter because you can divide 6 by 2 or 3. [36][wizaed.gif] Drums online games * [37]Drums music machine free online game * [38]Drums player online music machine * [39]Restore rhythm online ear training * [40]Drums map movie * [41]Drums editor online game Music piano and guitar online games * [42]Computer play a note pitch ear training. You try to understand it and type c,d,e,f,g... * [43]Computer show a note you try to understand it play keyboard * [44]Music machine ear training * [45]Piano music machine free online game you can compose melody and play it. Try compose melody. This is very easy. * [46]Music free online game. Try to repeat music. * [47]Note pair online game. Find all notes. This game is very useful for music memory improvement. * [48]Notes shooter online game. Try to recognize note as fast as you can. * [49]Piano note free online teacher * [50]Sound memory improvement free game. Listen music. Then try to repeat it. * [51]Drag music online game. Compose melody by notes. * [52]Piano note editor. Compose melody. Use mouse for composing. * [53]Find error at the melody online game. The computer play melody then replace one note. Try to find error Music machines * [54]Orchestra quiz online music * [55]Music quiz for kids * [56]Virtual band Music games for kids * [57]Rainbow piano for kids. Computer show the color. Kids need to press correct note. * [58]Can you play jingle bells? Look at the note sheet and play. * [59]Piano keyboard online game. Download piano keyboard movie on to your computer and play. Metronomes and fork * [60]Light metronome online movie * [61]Metronome online movie * [62]Guitar tuning fork its help tune guitar Guitar online games * [63]Guitar music machine * [64]Guitar chord finder * [65]Guitar online chords * [66]Guitar chords * [67]Basic guitar chords and how it * [68]Guitar chords machine with sound * [69]Guitar scales __________________________________________________________________ Free music games [70]AbabaSoft.com/music Copyright © 1998 - Références 1. http://www.ababasoft.com/music/index.html 2. http://ababasoft.com/music/drum_machine.html 3. http://ababasoft.com/music/drums01.htm 4. http://ababasoft.com/music/drums02.html 5. http://ababasoft.com/music/music.html 6. http://ababasoft.com/music/drum_editor.html 7. http://ababasoft.com/music/music01.html 8. http://ababasoft.com/music/ear_training01.html 9. http://ababasoft.com/music/music02.html 10. http://ababasoft.com/music/chords_piano.html 11. http://ababasoft.com/music/memory_sound.html 12. http://www.ababasoft.com/how_to_draw/ 13. http://www.ababasoft.com/flash_games/ 14. http://ababasoft.com/music/midi/WHOLE.MID 15. http://ababasoft.com/music/midi/HALF.MID 16. http://ababasoft.com/music/midi/QUARTER.MID 17. http://ababasoft.com/music/midi/EIGHTH.MID 18. http://ababasoft.com/music/midi/PATTERN1.MID 19. http://ababasoft.com/music/midi/PATTERN2.MID 20. http://ababasoft.com/music/midi/PATTERN3.MID 21. http://ababasoft.com/music/midi/EXAMPLE.MID 22. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/modern/american%20composers/sousa/stars%20and%20stripes.mid 23. http://ababasoft.com/music/midi/Chopin_Waltz.mid 24. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/the_wild_west/gold_rush/susanna.mid 25. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/glossary%20of%20musical%20terms/fug-x.mid 26. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/classical/sym40-Mozart.mid 27. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/the_wild_west/cowboys/Home%20on%20the%20Range.mid 28. http://www.empire.k12.ca.us/capistrano/Mike/capmusic/renaissance/GALLIARD[1].mid 29. http://ababasoft.com/music/midi/RAINBOW.MID 30. http://ababasoft.com/music/midi/RAINBOW.MID 31. http://ababasoft.com/music/midi/AMERICA.MID 32. http://ababasoft.com/music/midi/AMERICA.MID 33. http://ababasoft.com/music/midi/GRAND.MID 34. http://ababasoft.com/music/midi/GRAND.MID 35. http://ababasoft.com/music/midi/WIZARD.MID 36. http://ababasoft.com/music/midi/WIZARD.MID 37. http://ababasoft.com/music/drum_machine.html 38. http://ababasoft.com/music/drums01.htm 39. http://ababasoft.com/music/restore_rhythm.html 40. http://ababasoft.com/music/drums02.html 41. http://ababasoft.com/music/drum_editor.html 42. http://ababasoft.com/music/music_type.html 43. http://ababasoft.com/music/music_type2.html 44. http://ababasoft.com/music/music.html 45. http://ababasoft.com/music/piano_machine.html 46. http://ababasoft.com/music/music01.html 47. http://ababasoft.com/music/notepair.html 48. http://ababasoft.com/music/noteshooter.html 49. http://ababasoft.com/music/music02.html 50. http://ababasoft.com/music/memory_sound.html 51. http://ababasoft.com/music/dragmusic.html 52. http://ababasoft.com/music/note_editor.html 53. http://ababasoft.com/music/finderror.html 54. http://ababasoft.com/music/orchestra03.html 55. http://ababasoft.com/music/music_quiz.html 56. http://ababasoft.com/music/virtual_band.html 57. http://ababasoft.com/music/rainbow_piano.html 58. http://ababasoft.com/music/jinglebells.html 59. http://ababasoft.com/music/piano.html 60. http://ababasoft.com/music/metronome02.html 61. http://ababasoft.com/subvocalization/index.html 62. http://ababasoft.com/music/guitar_tuning_fork.html 63. http://ababasoft.com/music/guitar_machine.html 64. http://ababasoft.com/music/chord_finder.html 65. http://ababasoft.com/music/guitar_chord.html 66. http://ababasoft.com/music/guitar_chords.html 67. http://ababasoft.com/music/guitar_chords_basic.html 68. http://ababasoft.com/music/guitar_chords_machine.html 69. http://ababasoft.com/music/guitarscales.html 70. http://www.AbabaSoft.com/music [1]CAT.INIST [2][USEMAP:bandeau-haut-droit.gif] logo CNRS [3]logo INIST [4]En savoir plus sur CAT.INIST ? © INIST Diffusion S.A. Service Clients / Customer Service 2, allée du parc de Brabois F-54514 Vandoeuvre Cedex France Tél : +33 (0) 3.83.50.46.64 Fax : +33 (0) 3.83.50.46.66 Courriel : [5]infoclient@inist.fr [6]Accueil / Home Imprimer / Print [7]Contact / Contact Commander cette copie de document / Order a copy [8]Bookmark and Share [9]Mendeley Titre du document / Document title Effects of pre-exercise listening to slow and fast rhythm music on supramaximal cycle performance and selected metabolic variables Auteur(s) / Author(s) YAMAMOTO T.^ (1) ; OHKUWA T.^ (2) ; ITOH H.^ (2) ; KITOH M.^ (3) ; TERASAWA J.^ (3) ; TSUDA T.^ (3) ; KITAGAWA S.^ (3) ; SATO Y.^ (1) ; Affiliation(s) du ou des auteurs / Author(s) Affiliation(s) ^(1) Research Center of Health, Physical Fitness and Sports, Nagoya University, 464-8601, JAPON ^(2) Department of General studies, Nagoya, 466-8555, JAPON ^(3) Department of Applied Chemistry, Nagoya Institute of Technology, Showa-ku, Nagoya, 466-8555, JAPON Résumé / Abstract We examined the effect of listening to two different types of music (with slow and fast rhythm), prior to supramaximal cycle exercise, on performance, heart rate, the concentration of lactate and ammonia in blood, and the concentration of catecholamines in plasma. Six male students participated in this study. After listening to slow rhythm or fast rhythm music for 20 min, the subjects performed supramaximal exercise for 45 s using a cycle ergometer. Listening to slow and fast rhythm music prior to supramaximal exercise did not significantly affect the mean power output. The plasma norepinephrine concentration immediately before the end of listening to slow rhythm music was significantly lower than before listening (p < 0.05). The plasma epinephrine concentration immediately before the end of listening to fast rhythm music was significantly higher than before listening (p < 0.05). The type of music had no effect on blood lactate and ammonia levels or on plasma catecholamine levels following exercise. In conclusion, listening to slow rhythm music decreases the plasma norepinephrine level, and listening to fast rhythm music increases the plasma epinephrine level. The type of music has no impact on power output during exercise. Revue / Journal Title Archives of physiology and biochemistry ISSN 1381-3455 Source / Source 2003, vol. 111, n^o3, pp. 211-214 [4 page(s) (article)] (14 ref.) Langue / Language Anglais Revue : Français Editeur / Publisher Taylor & Francis, Basingstoke, ROYAUME-UNI (1995) (Revue) Mots-clés anglais / English Keywords Dopamine agonist ; Neurotransmitter ; Catecholamine ; Human ; Bicycle ergometer ; Music ; Rhythm ; Dopamine ; Norepinephrine ; Epinephrine ; Physical performance ; Heart rate ; Physical exercise ; Mots-clés français / French Keywords Stimulant dopaminergique ; Neurotransmetteur ; Catécholamine ; Homme ; Bicyclette ergométrique ; Musique ; Rythme ; Dopamine ; Noradrénaline ; Adrénaline ; Performance physique ; Rythme cardiaque ; Exercice physique ; Mots-clés espagnols / Spanish Keywords Estimulante dopaminérgico ; Neurotransmisor ; Catecolamina ; Hombre ; Bicicleta ergométrica ; Música ; Ritmo ; Dopamina ; Noradrenalina ; Adrenalina ; Rendimiento físico ; Ritmo cardíaco ; Ejercicio físico ; Mots-clés d'auteur / Author Keywords Slow music ; fast music ; epinephrine ; norepinephrine ; dopamine ; supramaximal exercise ; power output ; lactate ; ammonia ; heart rate ; Localisation / Location INIST-CNRS, Cote INIST : 827, 35400011637312.0030 Nº notice refdoc (ud4) : 15397711 Commander cette copie de document / Order a copy [10]Bookmark and Share [11]Mendeley CAT.INIST Rechercher / Search _______________________________ OK Références 1. http://cat.inist.fr/?aModele=presentation 2. LYNXIMGMAP:http://cat.inist.fr/?aModele=afficheN&cpsidt=15397711#Map 3. http://www.inist.fr/article29.html 4. http://cat.inist.fr/?aModele=presentation 5. mailto:infoclient@inist.fr?subject=Message%20depuis%20CAT.INIST.FR 6. http://cat.inist.fr/?aModele=presentation 7. mailto:infoclient@inist.fr?subject=Message%20depuis%20Cat@inist.fr 8. http://www.addthis.com/bookmark.php?v=250&username=inist 9. http://www.mendeley.com/import/?url=http%3A%2F%2Fcat.inist.fr%2F%3FaModele%3DafficheN%26cpsidt%3D15397711 10. http://www.addthis.com/bookmark.php?v=250&username=inist 11. http://www.mendeley.com/import/?url=http%3A%2F%2Fcat.inist.fr%2F%3FaModele%3DafficheN%26cpsidt%3D15397711 [USEMAP] http://cat.inist.fr/?aModele=afficheN&cpsidt=15397711#Map 1. http://cat.inist.fr/?aModele=presentation 2. http://www.cnrs.fr/ 3. http://www.inist.fr/ 4. http://www2.cnrs.fr/band/5.htm Basic Music Theory. Copyright Neil Hawes 1997 Rhythm * Rhythm in music is dependent on the fact that humans recognise a [1]beat occurring at a regular interval. * Rhythm in music is more than just a [2]beat, however; it is the way that sounds with differing lengths (or gaps between them) and accents can combine to produce patterns in time which contain a [3]beat. + These sounds do not have to be particularly musical; rhythms can be made by striking almost anything, as long as there can be difference in accent. + Differences in accent can mean different sounds or just different loudness (i.e. amplitudes) of sounds * It is common to speak of a particular rhythm, referring to a pattern of [4]note lengths which occurs in a piece of music. + It is important to understand that the rhythm is defined by the pattern; the overall speed of it could vary from performance to performance, but the rhythm would still be the same. + The speed or tempo of a piece of music is indicated by a [5]metronome marking and/or a [6]direction word or phrase; its rhythm is specified by various [7]note lengths creating [8]beats within [9]bars. * Modern songs often include [10]syncopation in their rhythm __________________________________________________________________ [11]Mail me [12]Copyright and disclaimer [13]Content and structure of these pages [14]Return to top Références 1. http://neilhawes.com/sstheory/theory09.htm#rhythm 2. http://neilhawes.com/sstheory/theory09.htm#rhythm 3. http://neilhawes.com/sstheory/theory09.htm#rhythm 4. http://neilhawes.com/sstheory/theory12.htm 5. http://neilhawes.com/sstheory/theory14.htm 6. http://neilhawes.com/sstheory/theory06.htm 7. http://neilhawes.com/sstheory/theory12.htm 8. http://neilhawes.com/sstheory/theory09.htm#bar 9. http://neilhawes.com/sstheory/theory15.htm 10. http://neilhawes.com/sstheory/theory37.htm 11. mailto:website@neilhawes.com 12. http://neilhawes.com/sstheory/theory05.htm 13. http://neilhawes.com/sstheory/theory03.htm 14. http://neilhawes.com/sstheory/theory.htm [jazz-blues-pianist-3.jpg] [1]Home: jazz improvisation : pop blues| [2]Pop music videos| [3]Pop blues jazz albums| [4]Jazz improvisation - harmony| [5]Lingua italiana| [6]HELP - FAQ| Rhythm and swing * Swing jazz rhythm * [7]Music rhythm * [8]Learn music theory : polyrhythms Site menu * [9]Blues singer songwriter jazz pianist * [10]Pop music videos * [11]Jazz piano, tutorial videos * [12]Pop blues jazz albums * [13]Jazz pianist music stores Improvisation and music harmony : MIOP * [14]Jazz improvisation and music harmony : summary * [15]Music harmony concepts * [16]Scales, modes to improvise * [17]Blues improvisation * [18]Jazz melody and improvisation * Swing jazz rhythm * [19]Jazz techniques : practice Swing jazz rhythm in improvisation Swing is very important in improvisation. This word means stressing the upbeat. If you also give a "sliding" or "retardation" between notes, you can create the real swing jazz rhythm, which was born at the beginning of the XX century about. When you stress an upbeat you make perhaps a "swinging" rhythmics, (also being without a dragging or a sliding between notes), for modern rhythm too, (such as pop and rhythm and blues). * When you play swing music, that is Dixieland, blues, ragtime, swing, bebop, cool jazz, hard bop, you have to follow this scheme: basic rhythmic pattern ...in this way: swing jazz rhythm pattern Learn swing jazz rhythm In order to learn how to swing, you simply have to learn how to reason in up beat and stressing with it constantly. In other words, swing means "stressing the upbeat" with an implied octaves triplets clef. It's so a rhythm "sliding" effect created : the meaning of the American word "swing" is just similar to "sliding", "waving" or "rocking". * For example these measures : how to learn jazz swing ..must be played (in general) in this way: fundamental jazz swing rhythm In other words Swing has offbeat (upbeat) accents and an eighth-note triplets rhythmic base. Learning jazz swing Learning swing very well and have the ability to improvise, stressing and giving the right accent of phrases needs much time to practice it. Above all, you must pay attention at the beginning to stress upbeat octave notes constantly and to stop when you realize you are making the contrary. While stressing notes on your instrument, I suggest to upbeat by your foot, so that you can emphasize this rhythmic accent better. You have to get used to reason in upbeat, beginning all over again, as since we were children we have been starting clapping hands in downbeat. Swing-jazz rhythm can be so learned naturally after studying constantly in this direction. * You need some months to learn swing rhythm on your instrument. I remember you to stress always the upbeats. 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The music rhythm workshop provides us with the basics needed to get rhythm down cold. below we link to the beginner series of lessons. We start with the essential building blocks of how to fundamentally know rhythm and then expand our knowledge of rhythm music theory and know how until we achieve mastery. Learning Pyramid The Basic Building Blocks of Rhythm Rhythm forms the basis of music theory. It is what all other musical elements are based upon. You can only survive so long in your musical journey without the essential building block of rhythm. Ask professional musicians: what one element of music do you find to be most important? The answer will often be rhythm. As it is the one thing that is least forgiven by the listener. Our learning approach assumes a level of maturity in the student. Often it is related to the age of about 8 years old. However, with proper guidance younger ages can use the materials. We don't take a single element to explore, but instead take a bigger picture and zero in on the elements that make it work. When we teach notes names or values we do it all at once, because it is very important that you know how all of them are related right at the start. This allows you jump start and accelerate your learning process. Whatâs really neat is that if you get hung up you can go back and see exactly what that single thing is and how it relates to other items in context. [10]WHAT'S NEW JOIN THE WORKSHOP Sign Up to Claim Your Free Report: Learn a Song - Crucial Steps to Mastering a Song Quickly First Name: _______________ Email Address: _______________ Submit We hate spam as much as you do! Your name and email address will not be sold, shared or disclosed. Beginning Rhythm Music Theory Lessons The sequence of lessons below are designed specifically for the newbie music student. They start with an overview approach of just looking at music components such as what is a measure a note in definition. We then follow the approach detailed above. Take your time Beginning Rhythm [11]Rhythm Definitions [12]Note Symbols [13]Note Symbols Practice [14]Note Time Value [15]Time Signatures [16]Counting Rhythm Beats [17]Counting Rhythm Using Rests [18]Counting Rhythm Duple Pattern [19]Counting Rhythm Quadruple Pattern [20]Counting Rhythm Triplet pattern [21]Note Relationships [22]Reference Chart Beat vs Time There is no hurry, it is far more important that you understand the concepts than to rush through them to get to the next one. The better you understand each step the easier the next one will be. Start with some terms we will need to become familiar with when discussing rhythm and music theory and move on through the lessons to build up on the previous group of knowledge. This outline shows the components of rhythm available on this site that you can start learning. This sequence is designed to quickly lead you through the basics of what is needed to learn rhythm music theory. The Music Learning Workshop "Get It Down Cold" Workbooks will be available soon to lead you through the process. [23]Join the our community and you will be notified when they are available. 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