Right-Hand Studies- Number Crunching
by Lucas Michailidis

Talking about numbers... It's a commonly known fact that music and numbers are happily related. What we are about to explore is no exception.

We'll begin by examining a measure of 4/4 time. Most of us are aware that this meter consists of 4 quarter notes which in turn can be subdivided into 8 eighth notes and 16 sixteenth notes. So far, so good!

The number 16 may be grouped in numerous ways. Let the CRUNCHING begin!

(4444) (556, 565, 655) (664, 646, 464) (772, 727, 277)

Within most 16^th groups, a choice of several permutations will exist (these are marked in parenthesis). What we see emerging is a thorough and comprehensive method of subdividing a single measure. As discussed earlier, the way in which to master rhythm of this type is through tapping and/or counting whilst retaining a regular four-beat pulse with the foot. It is common when counting odd numbers to break them down into their smaller denominations. For example, 5 will equal a combination of 2 + 3, or 3 + 2.

The following are musical examples based on one of each of the groupings found above. They outline the chord progression: G Am C D7

Ex. 1
Example 1 is based on the most prevalent way of grouping 16^th notes - as 4 groups of 4 (4444). It's a pleasing rhythmic pattern that offers few surprises.

Ex. 2
This pattern is based on the (5 5 6) grouping and should be counted as follows:

1-2-3 1-2 (5) 1-2-3 1-2 (5) 1-2-3 1-2-3 (6) Notice that by stressing accents one might not expect, the rhythmic pattern develops an unpredictable quality.

Ex. 3
This grouping of (6 4 6) should be counted as follows:
1-2-3 1-2-3(6) 1-2 1-2(4) 1-2-3 1-2-3(6)

Ex. 4
This - grouping of (2 7 7) should be counted as follows:
1-2(2) 1-2 1-2 1-2-3(7) 1-2 1-2 1-2-3(7)

The subdivision of a measure in this way has important ramifications that are relevant to all aspects of music including: composition, improvising, right-hand technique (fingerstyle & strumming patterns) and, of course, rhythm.

Within these few examples alone, there is a multitude of music that beckons to be explored. It is worth noting that rhythmic groups may also consist of rests and/or long notes, the most important factor being that they add up to the correct group number. When incorporating rests and held notes, we will find that the rhythmic grouping becomes ambiguous and as a consequence, even more musical.

Finally, it's important to remember amidst the barrage of numbers that music making is our objective. Use these ideas as ways to ignite your imagination and creativity.

Until next time,
Lucas

---

About the Author:

Acclaimed for his musical lyricism and rich compositional approach, Australian fingerstyle guitarist and composer Lucas Michailidis was winner of the International Open Strings guitar competition in Germany in 2001. The win landed him a recording contract with Acoustic Music Records and a solo spot at the 2002 festival.

CD releases The Offering and Freshwater Road have garnered attention worldwide along with glowing reviews throughout his native Australia. In these recordings Michailidis performs solo acoustic guitar compositions that demonstrate a broad palette of musical expression. His extensive and unconventional use of alternate guitar tunings leads to a fresh melodically driven approach that is free of cliché.

Michailidis' music has been published by American fingerstyle author/transcriber, player and publisher John Stropes as part of his 'Great Compositions by Emerging Artists' series. Stropes is perhaps best known for helping to further the careers of Leo Kotke, Michael Hedges and Alex Degrassi.

Michailidis has performed extensively throughout Australia and abroad and is also regular member of The Children of the Underground, an ensemble led by acclaimed Tartarstan singer Zulya. Together they have toured Europe on several occasions, performed at all major Australian festivals and released the highly successful CD Waltz of Emptiness - winner of the 2005 National Archive Award which enjoyed a top-ten ranking in the European World Music charts. His 1997 release of Journey highlights his work as a skilled and accomplished jazz musician/composer and features original jazz-inspired material for larger ensemble.

Michailidis was brought up on a healthy dose of Carlos Santana and George Benson and later acquired a taste for Pat Metheny, Pat Martino, Ed Bickert, Ed Gerhard, Michael Hedges, Bill Evans, Herbie Hancock, Steve Reich, Jimi Hendrix, Rickie Lee Jones, and James Taylor. With so many diverse influences, it's difficult to categorize Michailidis' own music or foretell what the future may bring for this gifted musician.

To learn more about Lucas Michailis and his music, please see his website at: http://www.lucasmichailidis.com/