This book is for you if:
• You have completed THE RHYTHM BOOK—Beginning Notation and Sight-Reading and THE RHYTHM BOOK— Intermediate Notation and Sight-Reading; or you have enough command of rhythmic notation that it is not an obstacle. You have completed THE RHYTHM BOOK—Rhythmic Development and Performance in 4/4, or are already experienced and comfortable performing in 4/4.
• You want to learn all about crossrhythms and how to apply them in performance. • You are any age, an adult or young learner.
• You are a vocalist, or play any instrument (including horns, piano, guitar, bass, strings—NOT just drums and percussion instruments!). This book, and the following books in the series, are unusual in showing how rhythmic ideas connect to harmony and song form.
• You are taking music classes, studying with a private instructor, or are teaching yourself. • You are a music teacher, who wants to teach rhythmic ideas to your students.
• You compose or would like to compose music, or write arrangements for others, and would like to incorporate crossrhythms in 4/4 in your writing.
• You play or want to play any style of music. Although crossrhythms are found less commonly in some styles than others, and the examples used in this volume have somewhat of an orientation towards jazz and contemporary music (funk, pop, rock, hip-hop, Afro-Cuban, Brazilian, modern classical), a musician in any style can benefit from the study of crossrhythms on 4/4.
Please note: once you have completed this book, you will be ready for two other books in THE RHYTHM BOOK series: THE RHYTHM BOOK—Odd Meters and Changing Meters; and THE RHYTHM BOOK—Superimposition and Subdivision, Metric Modulation, Feel Modulation and Displacement.