Lesson video

Hello everyone and welcome to this lesson on What is Syncopation? This is from our Singing for Performance Unit Syncopation in Songs.

My name's Mr. Croughan and I'm looking forward to guiding you through this unit as we explore, play, and sing using syncopation.

We're gonna have a great time.

Let's go.

By the end of this lesson, you'll be able to say that you can count the number of beats in a bar as well as clapping on the offbeats.

Let's begin by looking at today's keywords.

We'll begin with syncopation.

Syncopation is rhythms that emphasize the beats that are usually weaker, and we'll explore quite a lot of that today.

The backbeat, this is a type of syncopation where we emphasize the second and the fourth beat of a four beat bar.

Pulse, the regular, steady heartbeat of the music.

And the offbeat, this is weak beats or notes between beats.

There are three learning cycles in today's lesson.

The first one is us warming up so that we're ready and focused.

The second one is hearing and clapping syncopation.

And then we'll explore syncopation in different time signatures.

So let's begin by warming up, warming up our minds, our bodies, and our brains.

It's important because if we are playing and singing together, we want to be able to feel a steady pulse together, play in time together and be listening really well.

This unit requires us to be super aware of the pulse in music.

'Cause when we hear that, we can start to create and play syncopated rhythms around it.

These warmups are designed to help us clap and sing in time to the pulse.

The first one is "Who Stole the Cookie from the Cookie Jar?" I'm gonna pop the clip on so you can see how to play it.

Then you're going to pause and play "Who Stole the Cookie from the Cookie Jar" where you are.

If you notice, you'll see in the video that the game is chanted to a steady pulse.

So when you play it, you'll be doing the same.

Have a watch.

Here it comes.

♪ Who stole the cookie from the cookie jar ♪ ♪ Alex stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ Couldn't have been ♪ ♪ Then who ♪ ♪ Lucas stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ Couldn't have been ♪ ♪ Then who ♪ ♪ Jacob stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ Couldn't have been ♪ ♪ Then who ♪ ♪ Andeep stole the cookie from the cookie jar ♪ ♪ Who me ♪ ♪ Yes you ♪ ♪ Couldn't have been ♪ ♪ Then who ♪ ♪ Izzy stole the cookie from- ♪ <v ->So now you're ready to play.

</v> Perhaps you're playing in a circle or however you are set up to play.

Top tip: have someone's name in mind that you are going to say next so you are ready for when it's your turn.

Okay, pause and play that now.

Off you go.

Next is, Don't Clap This One Back.

If you know how to play this and you're super confident, then you can skip past this video.

Otherwise I'll pop the video on.

It's a rhythmic call and response game and it helps us listen and repeat individual rhythms with accuracy.

You're gonna watch the video first and then play in your classroom.

Are you ready? Here it comes.

This is a game called Don't Clap This One Back.

You'll hear me clapping different rhythms like this one.

(claps) (claps) (claps) And that rhythm is actually our secret rhythm that we are never going to clap because that rhythm says don't clap this one back.

So if you hear it, you do nothing.

Any other rhythm you hear, we all clap together.

Let's try a couple.

(claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) Very very good.

Now, you're going to listen super carefully, because if you hear.

(claps) (claps) (claps) (claps) (claps) (claps) We don't clap that rhythm back.

Okay? Let's play.

(claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) Did I catch any of you out? Let's try one more time.

Here we go.

(claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) (claps) Very well done.

Now you can practice that where you are.

Brilliant and if you want to, and you're feeling confident about this and someone in your class is going to lead it, whether that's you or a teacher or whomever, you can add in an extra rule, which is pepperoni pizza.

So if you hear the clap, which goes.

(claps) (claps) (claps) (claps) (claps) (claps) Don't clap back instead, all chant pepperoni pizza.

Okay? Pause here.

Good luck.

Enjoy that and I'll see you in a sec.

Pressing on.

Let's keep moving.

Fruit Canon is where we layer up parts of a song and then we can hear overlapping syncopated rhythms. First of all, I'll pop the track on and you can hear the unison section where you hear each line with each fruit being sung.

Here it comes.

(piano music) ♪ Mango mango mango ♪ ♪ Mango, mango ♪ ♪ Mango mango ♪ ♪ Mango mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ <v ->Now I'd like you to sing along with the track</v> and join in with part one.

So you start singing at the top of mango, mango, mango, mango.

Okay? Here comes the track.

Be ready to join in.

(piano music) ♪ Mango mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ kiwi kiwi kiwi ♪ ♪ Banana peel ♪ ♪ kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ kiwi kiwi kiwi ♪ ♪ Banana peel ♪ ♪ kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Peel ♪ ♪ Banana banana ♪ ♪ Peel ♪ ♪ Mango mango mango ♪ ♪ Mango mango mango ♪ ♪ Mango mango mango ♪ ♪ Mango mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ (piano music) <v ->This time join in with part two.

</v> So you are joining in one line later.

So when they start kiwi, kiwi, kiwi, you are starting mango, mango, mango.

Okay, here comes the track.

(piano music) ♪ Mango mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango mango ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana peel ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Mango mango mango ♪ ♪ Banana banana ♪ ♪ Mango mango ♪ ♪ Banana banana ♪ ♪ Mango mango ♪ ♪ Banana banana ♪ ♪ Mango mango mango ♪ ♪ Banana banana ♪ ♪ Mango mango ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ ♪ Mango mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango mango ♪ ♪ Mango mango ♪ ♪ Mango mango ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Kiwi kiwi kiwi ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana banana ♪ ♪ Banana peel ♪ (piano music) <v ->Fantastic.

We're already putting syncopated rhythms</v> against each other just to check in for you.

Are you able to feel that steady pulse? Whether it's Don't Clap This One Back, whether it's Who Stole the Cookie or Feeling the Pulse while we're singing and can you hear the different ways that those rhythms are fitting together? They're starting to sound great.

If you can identify and copy those clapped rhythms from, Don't Clap This One Back then you are listening really well and if you are ready to concentrate, we are ready to press on.

The second part of our lesson is where we're hearing and clapping syncopation.

I'm gonna pop a clip on now.

I'd like you to listen to this.

It's a short clip of Pachelbel's Canon and it's a piece of baroque music.

So baroque in the in Western music history is between 1600 and 1750.

And it was written by a German composer called Johann Pachelbel in the late 17th century.

Here it comes.

(instrumental music) (instrumental music) (instrumental music) <v ->In the opening of that piece we were listening</v> to all the notes in the melody are played at the same time and they're played on beats one and three.

So if you were counting one, two, three, four, one, two, three, four.

The notes are going one, two, three, one, two, three, four, one, two, three, four, one, two, three.

I'm gonna pop the track on again.

I would like you to count the steady pulse as it comes.

Are you ready? Here comes the track.

(instrumental music) (instrumental music) (instrumental music) Great stuff, well done.

Next you're gonna listen to "Uptown Funk" by Mark Ronson and Bruno Mars.

Now the clap that you hear on the track is on beats two and four and I'd simply like you to join in with the claps as you listen.

I'd like to keep counting one, two, three, four to that steady pulse and check that your claps are on beats two and four.

So pause here, play that clapping on beats two and four as they are clapping and see if you can count the steady pulse as well.

Off you go.

Well done.

Good stuff.

This is a type of syncopation called backbeat and it's very common in funk music.

Quick check for you, then we can show emphasized beats on a rhythm grid.

So we've got our one, two, three, four for "Pachelbel's Canon" and the same for "Uptown Funk." I would like you to fill in by putting an X in two boxes for whether beats are emphasized in "Pachelbel's Canon", and two X's crosses where the beats are emphasized in "Uptown Funk." Pause here and decide exactly where they should go.

So how did you do with "Pachelbel's Canon", we hear that one, two, three, four, one, two, three.

So if you got your Xs in the one and the three, you are absolutely right.

Fantastic.

And with "Uptown Funk", those claps were on the two and the four, one, two, three, four, one, two, three, four.

So if your crosses were in the two and the four.

Well done again.

That's really great listening.

Now in four time where we have four beats in the bar, beat one is the strongest beat and we can show that by emphasizing the number one each time we count.

I'm gonna begin, I'd like you to join in like this.

One, two, three, four, one, two, three, four, one.

Joining in with me please.

one, two, three, four.

One, two, three, four, one.

Very good.

Now beat three is the next strongest.

So we can add a little bit of emphasis to beat three.

It goes one, two, three, four, one, two, three, four, one.

Join in with me please.

one, two, three, four.

One, two, three, four, one, two.

Very good.

Now we can clap the beats showing the emphasis.

So we've got a loud clap on one, (claps) Quiet on two, medium on three.

Quiet on four a bit like this.

Ready? Steady.

Off I go with a one.

(claps) Two.

(claps) Three.

(claps) Four.

(claps) One.

(claps) Two.

(claps) Three.

(claps) Four.

(claps) One, two, three, four, one, two, three.

Joining in please.

One.

(claps) Two.

(claps) Three.

(claps) Four.

(claps) One.

(claps) Two.

(claps) Three (claps) Four.

(claps) One, two, very last time.

Good.

Two.

(claps) Three.

(claps) Stop.

Super.

We can also put it onto body percussion.

So we'll start off with beat one.

(claps) As a clap as our loudest beat two on our chest beat, three on our thigh or knee and then back to the chest.

So we should get a one, two, three, four, one, two, three, four, one.

Joining in with me.

Let's go.

One, two, three, four, one.

Thigh, chest, thigh, one, one, two.

Ready? Good.

You can pause and practice that if you'd like to.

Otherwise we'll press on.

Question.

What happens if we stress the weaker beats? So that it normally feels like a one, two, three, four.

But what if we go one, two, three, four, one, two, three, four, one, two, three.

Let's try that.

Ready, sturdy.

Off we go.

One, two, three, four, one, two, three and four with the one, two last time.

One, two, three and stop.

Very good.

Does that feel different, clapping the weaker bits? Clapping on the two and four is what we call clapping the backbeat just like we did with "Uptown Funk." If you'd like to pause here to practice that again, then you can, if you're feeling confident, we'll press on.

"Samba de uma Nota So" by Tom Jobim is a heavily syncopated piece of music.

Tom Jobim was a Brazilian composer and he composed in a bossa nova style.

What's bossa nova? Well if you've heard of samba and you can think of those funky samba rhythms. Bossa nova is Brazilian.

It's a genre of music that feels like a calmer, almost jazz like version of samba.

I'd like you to listen simply to the first 25 seconds of Samba de uma Nota So.

And see if you can tap the pulse with your hand.

Off you go.

Lovely.

Now some pieces are easier to find the pulse and the back beat than others, so you are gonna have a task.

Now the first one is to listen again to the first 25 seconds of Samba de uma Nota So by Tom Jobim and I'd simply like you to clap the pulse.

So feeling those beats that one, two, three, four.

And then I'd like you to listen again and clap the back beat.

Remember that's just on beats.

One, two, three, four, one, two, three, four.

Second part of the task is there is another piece of music, a fantastic piece of music.

It's called In the Free and it's by a group called Between Worlds.

It's a joyous thing to listen to and I would like you to clap the backbeat first.

You might be able to hear the backbeat, it might come naturally to you.

Have an explore, see what happens, and then try clapping the pulse of the one, two, three, four.

Pause here.

Listen to both of those.

Clap the pulse and the backbeat.

Off you go.

See you when you're done.

How was it? Was one easier than the other to clap the backbeat or the pulse? Sofia says she could clap the backbeats in Samba de uma Nota So whilst counting one, two, three, four, and when she was concentrating she could count in her head and still clap the beats on the two and the four.

Aisha says the backbeat was easier to clap actually in the free by Between Worlds because the track uses a strong back beat syncopation and that helped us follow it, which is great.

Right, the last learning cycle of today's lesson is where you are exploring syncopation and we are gonna be looking in different time signatures.

We can also to help us placing a patient subdivide our beats.

What I mean by that at this stage is adding the word and in between our numbers.

I'm gonna start, you're gonna join in one and two and three and four.

(claps) Join in one.

(claps) And two (claps) And three (claps) And four.

(claps) Carry on please.

One.

(claps) And two.

(claps) And three.

(claps) And four.

(claps) Rest.

If you need to pause to practice that you can.

Otherwise we're going to move on to now clapping on the, and.

So we're clapping on the offbeats.

So we're gonna still chant one and two and three and four and adding a clap to the ands like this.

Here we go.

One and two and three and four.

Join in one and two and three and four.

And I'd like you to pause because I don't think everyone will have that straight away.

I'd like you to give yourself a ready, stead, off we go one and and to a tip with the one open your hands one and two and so you're definitely not clapping on the one.

Have a pause and run through that where you are.

Off you go.

Fantastic.

This is called clapping the offbeat.

So well done.

And syncopated rhythms, they emphasize beats that are normally weak like those offbeats.

So here's a syncopated rhythm.

I don't want to tell you what it is straight away.

I would like you to work it out.

Then we'll come back together and we'll see how well you did.

Remember to clap and count.

So you are counting one and two and three and four and I wouldn't go any quicker than that.

And clap where you see those clapping icons below.

Off you go.

Fantastic.

Let's now do it all together.

So that we know that we've all mastered it.

One.

(claps) And two.

(claps) And three.

(claps) And four.

(claps) And one.

(claps) And two.

(claps) And three.

(claps) And last time, one.

(claps) And two.

(claps) And three.

(claps) And four.

(claps) And very well done.

Now in three time where there are three beats in the bar, beat one is the strongest.

Have a listen to this one.

(claps) Two, three.

One.

(claps) tow, three.

One.

(claps) Two, three.

One.

(claps) Two, three.

It gives it a waltz feel or an umpa-pa feel to it.

We can explore with this as well.

I would like us together to begin to clap these beats to a steady pulse with the emphasis on the first beat in the bar.

Ready to join in.

Off we go.

One.

(claps) Two, three.

One.

(claps) Two, three.

One.

(claps) Two, three.

One.

(claps) Two, two more times.

One.

(claps) Two, three.

One.

(claps) Two, three.

Very good.

So we're feeling that waltz movement.

Let's put it on some body percussion.

You are gonna do this, you're gonna go clap, click, click, clap, click, click, clap, click click clap.

And if you can't click, just go down to two fingers on the palm of your hand and it sounds quite like a click.

So you go clap, click, click clap, click, click.

Are we ready to join in together? One, two, three, clap, click, click, clap, click, click, click, click.

Two more times.

Clap, click, click clap, click, click.

Very good.

You can pause here if you would like to practice that where you are.

Otherwise we'll move on.

Now with our three, four time, we can also add syncopation.

So where there's three beats in the bar, we can still clap and count one and two and three and one and two and three and one and two and three.

And then we're gonna clap on each beat ready to join in.

Off we go one and two and three and one and two and three.

Joining in one and two and three beat one is the loudest carrying on one and two.

Can you chant with me? One and two and three and one and two last one and one and two and three and very good.

What happens if we chant our one and two and three and and we clap on the offbeats.

It will sound like this off I go one.

(claps) And two and three and one and two and three and one and two and three.

And we're gonna do that together.

Off we go.

One and two and three and one and two and two more times, one and two and three and one and two and three and.

If you need to, you can pause here to practice that way you are.

Otherwise we'll continue.

A little check for you now.

I'm not gonna do these for you.

We have two syncopated rhythms in three time.

So we are still counting our one and two and three and one and two and three and for both sets of rhythms I would like you to explore chanting and clapping both of these syncopated rhythms. Pause here, work them both out.

Go steadily.

Don't start too quickly and we'll come back together to clap them all together.

Off you go.

Fantastic.

Hopefully you are mastering that.

So let's start with a, we're gonna go off, I go one and two and three and making sure we're clapping in the right spaces.

Off we go.

One and two and three and one and two and three and one and two and three and one and two and three and fantastic.

Let's look at that second one.

We don't clap on the one off we go one and two and three and one and two and three and one and two and three and one and two and three.

And if you've mastered it, let's move on.

If you need to pause, pause now, just have another go at those where you are.

There's gonna be a track that comes on in a moment.

It is in four time, which means there's four beats in the bar.

So we count one and two and three and four and.

All you need to do is tap the steady pulse whilst counting.

So you're gonna sew one and two and three and four and.

If you listen to the claves, they play the steady pulse throughout.

Here comes the track.

(instrumental upbeat music) (instrumental upbeat music) (instrumental upbeat music) (instrumental bright music) (instrumental upbeat music) Now we have a syncopated rhythm on the screen which says one and two and three and four and one.

And what I'd like you to be aware of is that at the end, 'cause we repeat this rhythm, there is a clap on the and at the beginning there's a clap on the one.

So we need to be careful that with the, and one, those two claps are together even though they look far apart on the screen.

Have a listen, I'll go slowly one.

(claps) And two and three.

(claps) And four and one.

(claps) And two and three and four and one and two and three and four and We can repeat these as long as we like.

What I'd like you to do is pause, put the track on and practice that until you all feel confident that you are reading it.

The one that is on the on beat is the one and then the three ands are all on the offbeats.

Pause and try that.

Fantastic.

Well done.

Okay, we have two syncopated rhythms on the screen.

I'm not going to play them for you.

This is your practice task.

You're going to work them out yourself and you're going to do them to the track.

There is A and there is B.

Now you can choose at this point you could do A four times then B, four times if you're feeling super confident after you've mastered each one before you put the track on, maybe you want to go A, B, A, B, A, B entirely up to you how adventurous you are feeling.

But here's how you're gonna be successful.

First of all, listen to the track.

Tap the steady pulse along.

Check is everybody keeping time? Count one and two and three and four and along to the pulse.

Okay? Is everyone chanting and tapping in time? Are they tapping on the ones and still chanting the ands one and two and three and four and? If we are, we practice each rhythm before we clap it along to the tracks.

We look at A, are we clapping that properly? And then B, if you're going to be doing that, which you need to, you need to count in to set the steady tempo.

So you will all give or someone will give a one and two and three and four and everyone begins to clap.

Lastly, the fourth point.

So you've built it up gradually, gradually, gradually.

You play the track counting in one and two and three and four and really emphasizing that pulse before you clap the rhythm, so you all start together.

You can explore around to go, just playing A stop, that's good.

And then let's do B.

And then if you're super confident, you can alternate them.

Pause here, enjoy that and I'll see you when you're done.

Well done everyone.

You are now clapping syncopated rhythms. So how did it go? Quick check-in.

Did tapping the steady pulse help keep you in time? Was there a tendency to speed up? And what do you think might remedy this? Is it having someone keeping a steady pulse that you watch? Is it really listening to the track so that you are internalizing that pulse and not getting quicker? What's gonna work for you? Is it listening to everyone in your class? Did saying or thinking the and in between each clap out at one and two and three and four and, and was one rhythm more easy to clap than the other? Very well done.

You can pause if you want to repeat any of those or decide what might help you get even better.

Otherwise we're gonna move on because it's the end of today's lesson.

And we're just gonna summarize what you have learned already.

Each bar of music has strong beats and weak beats.

And with syncopated rhythms, they tend to emphasize beats that are usually the weaker beats.

There's many ways that we can create syncopation.

One way we demonstrated was looking at backbeat by clapping on the one.

(claps) Two, four.

One.

(claps) Two backbeat.

We've also clapped on the offbeats and we created syncopated rhythms. We can clap and we can play syncopated rhythms, which place emphasis on offbeats and weak beats.

Fantastic work today.

I look forward to seeing you in the next lesson.

Bye for now.