The simplest tie is to join together two crotchets:
| | | | | | |
|
| | | | | | |
|
|----@|------@|------@|------@|-----|-@|------@|------@|------@|------|
| \_______/ | \_______/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
The way do deal with ties is (much as we did with rests) to pretend that
they're not there, and mentally play ALL the notes, but only physically
realise the first of each tie.
The second way of tieing crotchets is across the bar:
| | | | | | |
|
| | | | | | |
|
|----@|------@|------@|------@|-----|-@|------@|------@|------@|------|
|____/ \______|__/ \_______|
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
Ties like this produce a sort of anticipation because the previously strong
beats have been removed. This is particularly noticable in the following
example where both sets of crotchets are tied:
| | | | | | |
|
| | | | | | |
|
|----@|------@|------@|------@|-----|-@|------@|------@|------@|------|
|____/ \_______/ \______|__/ \_______/ \_______|
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
It is particularly important to keep track of the bar lines when playing
this sort of pattern. Thougbh you aren't physically playing the strong
beats, they must remain clear in your head, otherwise your timing will drift.
We can now try that with quavers:
First consider the full 8 quaver pattern
_____________ _____________ _____________ _____________
| | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | |
|4/4-@|--@|--@|--@|--@|--@|--@|--@|-|-@|--@|--@|--@|--@|--@|--@|--@|--|
| | |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
We'll try joining each of the relevant pairs up in turn:
_____________ _____________ _____________ _____________
| | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | |
|4/4-@|--@|--@|--@|--@|--@|--@|--@|-|-@|--@|--@|--@|--@|--@|--@|--@|--|
| \___/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________ _____________ _____________ _____________
| | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | |
|4/4-@|--@|--@|--@|--@|--@|--@|--@|-|-@|--@|--@|--@|--@|--@|--@|--@|--|
| \___/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________ _____________ _____________ _____________
| | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | |
|4/4-@|--@|--@|--@|--@|--@|--@|--@|-|-@|--@|--@|--@|--@|--@|--@|--@|--|
| \___/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________ _____________ _____________ _____________
| | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | |
|4/4-@|--@|--@|--@|--@|--@|--@|--@|-|-@|--@|--@|--@|--@|--@|--@|--@|--|
| _/ \__|_/ \___|
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
You should find that each of these creates a different amount of unbalance
within the bar: the first and third examples have little effect on the bar
as a whole, while example two creates larger scale movement. Example four
shifts the rhythm of the entire bar. You should be able to relate these
shifts to the size of unit the ties are bridging between (bridging between
crotchets creates little disturbance, while bridging between semibreves
is more significant).
As you should have done with the rests in the previous lesson: If you have problems with these, go back to the original version, where all the notes are played, and identify the rhythm that you want WITH all the notes in, then join up the notes with ties.
_____________ _____________ _____________ _____________
| | | | | | | | | | | | | | | |
| | | | | | | | | | | | | | | |
|4/4-@|--@|--@|--@|--@|--@|--@|--@|-|-@|--@|--@|--@|--@|--@|--@|--@|--|
| | |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____________ _____ _____________
| | | | | | | | | | | | | |
| | | | | | | | | | | | | |
|----@|------@|--@|--@|--@|--@|--@|-|-@|--@|--@|------@|--@|--@|--@|--|
| \_______/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____ _____________
| | | | | | | | | | | |
| | | | | | | | | | | |
|----@|--@|--@|------@|--@|--@|-----|-@|--@|--@|--@|--@|------@|------|
| \_______/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________ _____ _____
| | | | | | | | | | | |
| | | | | | | | | | | |
|----@|------@|------@|--@|--@|--@|-|-@|------@|--@|--@|------@|--@|--|
| \___/ \__|_/ \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________ _____ _____________ _____
| | | | | | | | | | | | | |
| | | | | | | | | | | | | |
|----@|--@|--@|--@|--@|------@|--@|-|-@|--@|--@|--@|--@|--@|--@|------|
| \___/ \__|_/ \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____
| | | | | | | | | |
| | | | | | | | | |
|----@|------@|------@|--@|--@|-----|-@|------@|------@|------@|--@|--|
| \___/ | \_______/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____ _____ _____
| | | | | | | | | | | |
| | | | | | | | | | | |
|----@|------@|--@|--@|--@|--@|-----|-@|--@|--@|------@|------@|--@|--|
| \___/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____
| | | | | | | | | |
| | | | | | | | | |
|----@|--@|--@|------@|------@|-----|-@|------@|--@|--@|------@|------|
| \___/ \______|_/ \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________
| | | | | | | | |
| | | | | | | | |
|----@|------@|------@|------@|-----|-@|--@|--@|--@|--O|-------------||
| \______|_/ \___/ ||
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & ||
This exercise is deliberatly convoluted, and you are VERY inlikly to ever
encounter anything as irregular as the above (or if you are then you're
working at the sort of level where there's very little I can teach you
anyway!).
For completeness here's another exercise with both rests and ties in!
_____________ _____________ _____________ _____________
| | | | | | | | | | | | | |
| | | | | | | | | | | | | |
|4/4-@|--@|--@|--@|--@|--@|--@|--@|-|-@|--7---@|--@|--@|--@|--7---@|--|
| \__|_/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____________ _____ _________
| | | | | | | | | | | |
| | | | | | | | | | | |
|----@|------@|--@|--@|--7---@|--@|-|-@|--@|--@|------7---@|--@|--@|--|
| \___/ | \___/ \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _________ _____
|\ |\ | | | | | | | | |
| | | | | | | | | | |
|----@|--7---7---@|--@|------@|--@|-|-@|--@|--@|--7---@|--@|--@|------|
| \___/ \__|_/ \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________ _____ _____
| | | | | | | | |
| | | | | | | | |
|----@|------{-------@|--@|--7---@|-|-@|------@|--@|--{-------@|--@|--|
| \__|_/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____
| |\ | | | |\ | | | |
| | | | | | | | | |
|----@|------7---@|--@|--@|--@|-----|-7---@|--@|------@|------@|--@|--|
| \___/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____
| | | | | |\ |\ | |
| | | | | | | | |
|----@|--@|--{-------@|--@|--@|-----|-7---@|--7---@|--@|------@|------|
| \___/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____
| | | | | | | |
| | | | | | | |
|----@|--@|--@|------{-------@|-----|-{-------@|--@|--@|------@|------|
| \___/ | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____________ _____ _____ _____
| | | | | | | | | | |
| | | | | | | | | | |
|----@|--@|--@|--@|--@|--@|--{------|-@|--@|--{-------@|------@|--@|--|
| \___/ | \_______/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____ _____ _____ _____
| | | | | | | |
| | | | | | | |
|----@|--@|--{-------@|--@|--{------|-{-------@|--@|--@|--@|--{-------|
| | \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
| | |\ | | | | |\
| | | | | | | |
|----@|------@|------7---@|--@|-----|-@|------@|------@|------7---@|--|
| \___/ | |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
_____
| | | | | | |\ |
| | | | | | | |
|----@|------@|------@|------@|-----|-@|--@|--7---@|--O|--------------|
| \______|_/ \___/ |
| 1 & 2 & 3 & 4 & | 1 & 2 & 3 & 4 & |
As I'm writing this out I'm repeatedly thinking "Ouch! Thats Nasty". The
above is some scary rhythmic playing, but if you've handled the previous
exercises you should have the techiques to handle it. Remember to break
things down into their constituent parts, removing the ties and the rests,
and getting the basic notes, then adding in the rests/ties once you've
got all the other notes in the right places.