Rhythmic Templates for Sequencing ================================= Version 1.1 dated 23 March 1997. These are notes toward a devlopment of a Rhythmic "Encyclopedia" or "Dictionary" for e(lectronic)-text convenient exchanges. Comments are VERY welcomed. The following can be the basis for exchanging chord progressions with rhythmic accuracy; and can also be used to build guitar chord "strumming" patterns which can be applied to any chords (or bass lines or melodies!) for any instrument. In my opinion, rhythmic phrase development is a key component to becoming a great musician. ================================ Rhythmic Templates for Sequencing Text Conventions for Rhythm Notation 4 - = Example Time Signature 4 | Vertical Bar for Measure boundaries % Repeat Previous Measure Symbol n% Repeat Previous n Measures Symbol ||: :|| Repeat Symbols || Double Bar (section) Measure Symbol _ Tied Note Symbol . Dotted Note Symbol 3 Triplet symbol used above "/" 5 Quintuplet symbol used above "/" 7 Septuplet symbol used above "/" /_/_/_/ = Whole Note (Tied Quarter Notes) /_/ = Half Note (Tied Quarter Notes) / = Quarter Note & = Qurter Note Rest ("and" symbol) [An alternate stem/flag indicator could just be a vertical bar under the "/", on one line for each subdivision and to save hoizontal score space, e.g. / = Eighth Note | / = Sixteenth Note | | Otherwise, the following is suggested: / = Eighth Note 1 / = Sixteenth Note 2 / = Thirty Second Note 3 / = Sixty Fourth Note 4 / = 128th Note 5 For chord symbol notation, I recommend, in general, for the 7 chord "tertian" catagories: M = major, i.e. based on 1 3 5 7 (9 11 13) m = minor, i.e. based on 1 b3 5 b7 (9 11 13)) (7) = dominant, i.e. based on 1 3 5 b7 (9 11 13) nM = minor Major, i.e. based on 1 b3 5 7 (9 11 13) sus = suspended dominant, i.e chords based on 1 4 5 b7 (9 11 13) susM = suspendend Major, i.e chords based on 1 4 5 7 (9 11 13) amb = ambiguous, i.e. chords (without major or minor thirds) AND (no forths) AND (no M7 or m7), for example based on 1 2 5, 1 5 6 or 1 6 7, etc. with the "construction" spelled out for clarity, e.g. C amb 57 which equals the notes C, G, and B. For modifications within a chord type, I recommend using parentheses "( )", for example: CmM13(#5b9#11) For additions, I recommend using "add", for example: CM13(#9) add #13 For Bass note roots, I recommend using the "/", for example: C amb/G# which would be equivalent to 1 #5 unless otherwise specified. Here is an example of my rhythmic notation applied to a blues progression: 120 BPM C Blues 4 - 4 C7 F7 C7 333 | / / //// // | /// // //// / | / / //// // | /// // // / | 2222 11 122 11 2222 2222 11 111 11 11 F7 C7 | / / / / | / / / / | / / / / | / / / / | (etc.) G7 F7 | / / / / | / / / / | / / / / | / / / / | C7 G7 | / / / / | / / / / | / / / / | / / / / :|| For example for a Rhythmic "Encyclopedia" entry: Phrase Length: 1 Measure Time Signature: 4/4 Beat Subdivision: 1/4 (1) | /_/_/_/ | (2) | /_/ /_/ | (3) | / /_/ / | (4) | / / /_/ | (5) | /_/ / / | Essentially further entries will be combination and permutations of the above at different beat subdivision levels. Applying "resultant of interference" patterns are also quite appropriate based on ideas of Joseph Schillinger. (See his books "Schillinger System of Musical Composition" and "Mathematical Basis of the Arts".) I believe a key goal in studying rhythmic phrasing is understanding how and why some rhythms complement each other and generally improving one's musicianship in performance and composition. Benjamin Tubb brtubb@cybertron.com http://www.cybertron.com/~brtubb