Rhythmic dictation practice

I've recently realized that the biggest hurdle I have to jump over when I compose is my troubles with writing out the rhythms that I hear. I continually get them wrong, and then I get frustrated and end up closing out Sibelius and saying "I'll just finish it tomorrow."

This is a pretty basic question, but what are some good ways to practice rhythmic dictation? Are there any techniques you use to make it easier?

Thanks in advance!

mmmmm :hmmm:

Play it slower in your mind, Split the rythms into the smallest used note, let's say there is a 16th (semicuaver), count everything in semicuavers to realize the exact measure of each note.

I agree. The one one thing which trips me up the most when sketching out a tune is stumbling over an intricate rhythmic idea. I recently picked up a book at the music store on a whim titled Rhythmic Training by Robert Starer (Hal Leonard).

Nothing Earth shattering but very clear studies into progressively more intricate subdivisions and ties...he throws in 5/4 and 7/4 early on too in order to encourage you not to shy away from such time signatures.

I think I'll have to pick that book up.

I only realized now that I haven't been dividing into 16th notes, only 8ths. Thanks for the tip, I think that'll help.

What really trips me up though is that I tend to have these "stumbling rhythms" as I call them in my music. So it's very hard to count them. I'm not sure if they can even be divided evenly :O

I've been trying to practice this as I'm using MacGamut (if anyone's heard) in Ear Training class. I try to write dots below the staff and put a metronome on and connect them. Say I would put 2 eighth notes dots for each beat for 2/4. And it was quarter - eight - eight. I would connect the first two and leave the other two alone. (I doubt that makes any sense).

I like SYS65's advice.

I've been trying to practice this as I'm using MacGamut (if anyone's heard) in Ear Training class. I try to write dots below the staff and put a metronome on and connect them. Say I would put 2 eighth notes dots for each beat for 2/4. And it was quarter - eight - eight. I would connect the first two and leave the other two alone. (I doubt that makes any sense).

I like SYS65's advice.

I hope the creators of MacGamut die childless and alone. Our ear training class had a CD breaking party after we were done with it.

I hope the creators of MacGamut die childless and alone. Our ear training class had a CD breaking party after we were done with it.

Man, I hear ya. The rhythm/melodic dictation is kicking my donkey. The entering function is pretty difficult. I usually end up recording it with sound recorder and getting out the guitar to make sure I don't have to do more than 8.

I think I'll have to pick that book up.

I only realized now that I haven't been dividing into 16th notes, only 8ths. Thanks for the tip, I think that'll help.

What really trips me up though is that I tend to have these "stumbling rhythms" as I call them in my music. So it's very hard to count them. I'm not sure if they can even be divided evenly :O

Have you tried speaking/singing/tapping it onto a tape/computer recording, so that you can take your time listening to it "from the outside" to figure out the rhythms?

Also, it never hurts to do basic rhythm reading exercises, i.e. taking a score and simply speaking the rhythms in it, ignoring the pitches and everything else. This can be a relatively simple score (in which case it may be a good exercise for speed and sight reading), or something with somewhat more complex rhythms (Bart

Slight addition to Gardener and everybody elses suggestions:

1) Subdividing the beat is good too - but again this has to be handled carefully. BEFORE YOU BEGIN PRACTICING A RHYTHM - you must set a slow and comfortable tempo. With this tempo practice the subdivisions in a work or exercise FIRST. If you have a 6/8 bar of quarters, sixteenths, dotted quarters, quarters and sixteenth note quadruplets equaling three eight notes, you would run through briefly before doing the exercise or work the following:

a) dotted quarter

b) three eight notes

c) sixteenth note quadruplets

and maybe 6 sixteenth notes

2) As Gardener said practice speaking the rhythms. Another method (similar to Gardener's) is called ta and clap - you say tah (or ti) for whatever rhythms given and for rests and tied notes clap and hold for their durations. This method is helpful in feeling the rests and the pulse. If you are doing this alone a metronome is good to start off but as I say later you must wean yourself off it quickly - as soon as you can do the rhythms steadily, slowly and comfortably.

3) SYS suggestion of the Starer text is fantastic. That text is used in Ear Training/Dictation/Rhythmic Training classes in the US - I know Juilliard uses it. Be sure to get the black and white version as there is another that breaks the book up into two parts.

4) Metronome is good to start but wean yourself off it - you must feel the pulse w/o it. I know I have struggled with that as a player - it often differentiates the merely Ok from the very good players this strong sense and control of the pulse of a composition. I think the metronome and tape recording is a fantastic way to check your renditions - I'd prefer doing it though this way - record doing the rhythms w/o a metronome. Then playback your exercise using a metronome to check your accuracy.

Hopes this helps

There is an error in my photo :laugh: .... do you see it ? how did it happened ? I don't know ....

Yes the 32nd note should be a sixteenth

and why the notes in the 2nd staff look like they're in-line ? .... Visual Effect ?

Thanks for all the great advice. I think that most of my problems stem from me still not being able to sight read music, so of course I won't be able to write it.

I'm going to order that book by Starer and I'm going to start reading some rhythms online.

Thanks!