Lección 17 de 23CantoBeginner

Ritmo

¿Cómo se consigue un buen ritmo? Juliet nos introduce en los compases con algunas formas divertidas de entender los tiempos de una canción.

Parte del cursoHabilidades esenciales para cantantes23 lecciones (1h 55m)

Esta lección forma parte del curso completo. 1 lección es gratis.

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Juliet RussellTu gurúJuliet Russell

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23 lecciones (1h 55m) · 1 gratis
    • 01. Distintos registros

      3:48

    • 02. Ritmo

      Estás aquí

      4:18

    • 03. Articuladores

      5:04

    • 04. Dinámica

      3:22

Transcripción de la lección

Exploring Rhythm in Music

In this lesson, we're going to explore rhythm.

Embodying Rhythm

For me, personally, I find a really great way of exploring rhythm is to start embodying it, just moving along to music. This might be while you're listening to a song on the radio or while you're doing something else.

  • Keeping that inner pulse in the body is really useful.

Basics of Rhythm and Tempo

To explain some of the very basics of rhythm and tempo:

  • Most pop songs (this is a generalization) are in a four-four rhythm. This means there are four beats to a bar.

Counting in Four-Four

Let's count it out together:

  1. 1, 2, 3, 4
  2. 1, 2, 3, 4

Join me:

  • 1, 2, 3, start to move.
  • 1, 2, 3. Walk around the room if you want to.
  • 1, 2, 3, 4.

For some people, you might want to use your feet:

  • 1, 2, 3, 4
  • and
  • 1, 2, 3, 4.

Whatever feels good, you can walk around to that rhythm, just practicing it.

Understanding Tempo

Rhythm can speed up or slow down, and that is the tempo of the song.

  • So when someone talks about the tempo, it's basically how fast or slow it is.
  • Ballads tend to be slower than dance music.

For example, consider a classic disco tune like "Car Wash":

"You might not ever get rich, but let me tell you, it's better than digging a ditch."

You can hear that it's got more tempo and pace. In contrast, some of the songs we're working on in the course are more ballad-like, which means they tend to be slower with longer phrases.

The Four Beats in a Bar

Now, often as a singer, we refer to the four beats in a bar, which are known as crotchets.

  • These four beats are counted as:
    • 1 and 2 and 3 and 4.

When singing, sometimes we focus on the offbeat, which occurs on:

  • and 1 and 2 and 3 and 4 and.

Coordinating Rhythm

To start embodying that, I would say do a stamp and then a click or a clap, whatever you're comfortable with:

  • 1 and 2 and 3 and 4 and
  • 1 and 2 and 3 and 4.

This might be difficult to coordinate if you're not used to it.

Physicalizing Rhythm

Another way of doing it is to walk around:

  • Just do a 1 and 2 and 3 and 4.

You can use whatever space you have and just learn to physicalize and embody that rhythm.

Time Signatures

There's another thing called time signatures.

  • The four-four time we talked about consists of four crotchet beats in a bar, which is what we started with:
    1. 1, 2, 3, 4.

You can also have three crotchets in a bar, which is called waltz time:

  • 1, 2, 3
  • 1, 2, 3.

For example, the song "Natural Woman" has groups of three:

"Looking out on the morning rain, I used to feel so uninspired."

Emphasizing the Offbeat

Another thing that happens when we sing pop or soul music is we often think about the rhythm being on the 2 and the 4. For one of the songs we're going to work on, "I Need a Dollar," this is true:

"I need a dollar, a dollar, a dollar is what I need."

Join in:

  • 1, 2, 3, 4
  • 1, 2, 3, 4.

Click or clap as you join in:

"I need a dollar, a dollar, a dollar is what I need."

Finding Your Rhythm

Just play around with where you feel the pulse of something. This is a great way to get your ears and body attuned to rhythm.

A good way to explore it is to simply dance.

  • Nod your head,
  • Tap your foot,
  • Whatever feels natural.

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Juliet Russell

Juliet Russell

Juliet Russell es cantante, compositora, coach vocal y directora de coros. Le apasiona ayudar a personas y comunidades a desarrollar su voz y su creatividad.

Coach vocal en The Voice y The Voice Kids de ITV y en Michael McIntyre’s Big Show de la BBC, Juliet también ha trabajado con artistas galardonados con premios Grammy, Brit, MTV Europe y MOBO. Ha colaborado y actuado con artistas innovadores como Damon Albarn, Imogen Heap, Paloma Faith, alt-J, Yoko Ono, Seal y Ringo Starr.

En 2015, con el apoyo del Arts Council of England, llevó de gira su álbum Earth Meets Sky, con músicos locales y coros comunitarios para crear diez actuaciones únicas por todo el Reino Unido. Recibe con regularidad encargos para crear nuevas piezas corales y arreglos vocales, y ha actuado a nivel nacional e internacional.

Comprometida con el desarrollo de artistas, Juliet ejerce de mentora y coach de artistas emergentes, trabajando con empresas de management, discográficas y editoriales, así como con artistas independientes. Tiene un estudio vocal en pleno corazón de la vibrante Brick Lane de Londres.

Juliet fue directora artística fundadora de Sense of Sound y directora creativa de Sing Up Greenwich y de Sing Late en el V&A. Dirige el Portobello Live Choir, un coro comunitario del oeste de Londres, y el coro profesional Assemble, y es formadora del programa Singing for Lung Health de la British Lung Foundation.

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