tips & tricks for the rhythmically & harmonically-challenged
Posts tagged anticipations
Handling Rhythmic Anticipations Part 2
Nov 20th
Applying Anticipations to a Song: Anticipating Beats 1 & 3
Let’s take a look at a very simple melody — “Twinkle Twinkle Little Star.”
The rhythmic time-values consist of quarter and half notes (or crotchets and minims). Now, in order to make the passage sound more exciting, we need to push the beat here and there, i.e. apply anticipations to some of the downbeats.
Let’s start with applying anticipations on beats 1 and 3 followed by ties. Listen to how the downbeats on 1 and 3 are being pushed forward, adding motion to the otherwise staid rhythms of the original melody. (I’ve included a drum track so that you can hear where the beats are being pushed.)
The next example shows the same anticipated rhythms. However, this time these are followed by rests. There is still a sense of forward motion accompanied by a more intense punctuation due to the shorter durations.
Now, let’s combine these two examples, i.e. a mix of beat 1 and 3 anticipations with ties and rests. Notice doing this gives a smoother and more natural feel to the overall phrase — not as draggy as the tied version, or too staccato-ish as the one with the rests.
Applying Anticipations to a Song: Anticipating Beats 2 & 4
Compare the effect of the previous anticipated phrases on beats 1 & 3 with the following ones on beats 2 & 4, starting with the tied version, then the one with rests. These definitely sound more lively than the original, but comparatively they do not possess the extra excitement or sense of urgency of the beats 1 & 3 anticipations.
Twinkle-Melody-Anticipating-Beats-2&4/rests
Applying Anticipations to a Song: The Musical Version
Finally, in order to create a musically and rhythmically coherent phrase, we do not necessarily have to anticipate each and every beat of the melody — some beats may remain as they are. Also, although beats 1 & 3 anticipations are preferred over beats 2 & 4, a mixture of both sets done tastefully will also enhance the rhythm of the melody.
Now, check out this simple arrangement!
Twinkle-Melody-Anticipated-Simple-ArrangementHopefully, from these examples, you will fully understand the importance of applying anticipations to musical phrases. In order to execute these anticipated rhythms accurately, you have to remember to maintain a steady tempo. There should never be any hesitation, dropping a beat, or rushing through the rhythm!
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Handling Rhythmic Anticipations
Oct 1st
Anticipation: What is it?
One of the most common stumbling blocks of rhythmic playing is the anticipation. An anticipation is a note (of any time-value) that is brought forward or played earlier, followed by either a tie or a rest. When an anticipation occurs it creates a feeling of forward motion, urgency and excitement. However, when played wrongly, an anticipated note sounds rushed.
How it works
An easy way to understand anticipation is as follows. Think of a row of quarter notes or crotchets in a bar of 4/4 time. All four notes here are played on the downbeats or the main beats; there are no anticipated rhythms. Note the accents (extra emphasis) on beats 2 and 4.
Now, let’s anticipate Beat 3 of the bar, or the third F note. This example shows the note on Beat 3 being brought forward by half a beat, and tied over the rest of Beat 3. Note the accent now falls on the anticipated beat “and-of-2″ while beat 4 still retains its original accent. 
Anticipation/tie
The second example is the same, except Beat 3 itself is now a rest. When an anticipated note is followed by a rest, it gives an extra kick to the overall effect — enhanced by the accent on the anticipated beat “and-of-2″. 
Anticipation/rest
In this next example, Beat 3 is not anticipated as it is still sounded on the third beat itself. In this case, there is only an extra rhythmic time-value to Beat 2, or the original quarter note has been split into two eighth notes adding more motion to the rhythm. Note the accents are back on beats 2 and 4.
Getting Anticipations Right!
This is how you practice all rhythmic passages. Always make sure you maintain a steady downbeat — I personally like using the heel of the right foot. Place your heel down as you count each main downbeat. Instinctively, you will notice that as you lift your heel it hits the upbeat between the main beats, and this upbeat is commonly counted as “and,” represented by the symbol “+.”
Train yourself to internalize the downbeats, feel them each and every time your heel hits the floor. For a start, count out loud the pulse of the measure. In the examples above, the pulse is represented by the smallest re-occuring time-value in the measure, which is the eighth note. Hence, begin counting 1+2+3+4+ (one-and-two-and-three-and-four-and) as your heel digs in on the main beats.
When you are ready, use one of your hands to tap the top of a table (or any stable surface), or the side of your thigh. (You can clap too, but make sure one hand is held stationary while the other taps on it — unlike when you are applauding where both hands are brought together — to ensure you get a steady rhythm.)
As you are counting the pulse and feeling the main beats, tap the first example. This will coincide exactly with your heel movement. For the anticipated examples, do the same thing, but this time instead of tapping on downbeat 3 together with your heel, tap on the and-of-2 as you are counting out loud. If you do this correctly and without rushing the timing, you will feel a sudden urgency in the rhythm.
Listen to the anticipated examples, then try tapping along to get the overall feel of how this rhythmic manipulation should sound.
When does an anticipation occur?
Anticipations of Beats 1 and 3 are very common, although technically any beat of the bar can be anticipated.
Play through and listen to the following examples:
Compare the above with the following anticipations of Beats 2 and 4.
To me, anticipating Beats 1 and/or 3 sounds more compelling, much more exciting, has a cooler feel than the latter. How so? I’ll explain and demonstrate in my next post.
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