Stupies on Dottep EiGHTH AND SixteeNTH NoTEs Erupes 13-18—Dr. Bowman This chythm is often played as a triplet rather than a duple. Be certain to subdivide each beat into the lowest value note and make the ratio rhythmically correct—three-to-one in the dotted figures. Avoid cutting the dotted note short ot putting a rest in between the dotted note and the shorter note. Eruves 13-18—Mr, ALessi The dotted eighth followed by a sixteenth is one of the most important rhythms to learn cor- rectly. It is frequently performed incorrectly. The common mistake is performing this rhythm as a triplet. To prevent this from happening think eighths while playing (with the emphasis on eighths 2, 4, 6, and 8 in common time). Hear these emphasized beats in your head as you would hear a percussion instrument. This will help prevent the tendency to play the rhythm as a riplet. Accent slightly the sixteenth or kick it to play in the correct marked style. Sustain the dotted eighth as a violinist would play it with a full-bow. ‘Tempo di Marcia 13. oes 32 * Arban STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTESAllegro moderato 14, Dearest ee te STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES Arban + 33Tempo i Marcia cont B hebe 17. Alllegro moderato 18. 34 * Arban STUDIES ON DOTTED EIGHTH AND SIXTEENTH NOTES