As we begin to learn to play any instrument, most of the method books explain the basics of time signature formulas. It is usually up to us to intuit the immensely deeper meanings over a lifelong music career. The truth is . . . most teachers have never completely understood rhythm theory either! As you meet people who claim to understand musical time, ask them to explain in simple language, how many song-beat patterns exist in 4/4 time. Ask them the meaning of the term 'Secondary Pulse'. If they do not begin explaining it excitedly, it means they are not aware of what you are asking. This new perspective is not mainstream knowledge and never has been, though it is simple enough to be taught at elementary school levels. Almost every professional musician I've polled will quietly admit that they didn't actually understand rhythm theory as they passed their exams, and still don't. Why? In these modern times we're more interested in how the time signature formulas effect our current music styles. How do those odd looking time-signatures (3/4, 4/4, 5/4,3/8, 15/8 etc.) unfold and break-down into billions of usable and functional song-beat structures and rhythm patterns in popular music! There is a huge difference between a time signature formula like 4/4, and the implications of what sorts of song-beat structures we can derive from that simple fractional appearing formula. The formulas alone do not tell us much at all. There are more than (18.4 quintillion) basic song-beat structures hidden within that one formula (4/4) that have never (or only rarely) been used with a modern hit song. Some of those hidden song-beat structures may be capable of launching entirely new eras of original and different music styles of the future. Those are the simple BASIC patterns! Within each of those simple basic patterns there will exist billions of complex song-beat variation possibilities; each of which might provide enough unique beat structures to keep song writers and composers busy discovering new and different rhythms for millions of years to come. Launch a couple of new music eras of your own, starting now. It is all sitting here, waiting patiently for your creative mind to make these discoveries I'm about to show you. There is a little known and hidden (but very easy) system of math at work within the original time-signature designs that will superbly explain every conceivable song-beat rhythm pattern within the entire musical universe! EVERYTHING! Whoa! That's a big statement, but I'm about to prove it to you. We're talking about new and different song-beats that you can feel in the pit of your soul. Song-beats you can hear in your head and heart, like an earwig, that won't go away. Those song-beats will then help you design and create more interesting and more innovative original music. It is all so simple, it will blow your mind. TIP: Before you attempt to write an original new song; why not start with a new song-beat that has never been heard or used? Over the years, Classical music scholars have taken a relatively simple subject and adapted it primarily to classical music styles. They've turned rhythm theory into virtual rocket science, (unnecessarily). The topic seems so complex that average people roll their eyes and avoid the subject completely. As a consequence, if we take a poll among working musicians today, we find that fewer than one in one-hundred will completely understand rhythm theory. All the rest are winging it in total ignorance whether they'll admit it or not. That ignorance is NOT bliss, it's holding popular music back! If you can not explain exactly how 18.3 quintillion pop music rhythms exist within 4/4 time (alone), you are are part of the problem. The time has come to demystify all musical time, then encourage you to use this new knowledge to your professional advantage! This book is the answer! You will absorb this priceless knowledge painlessly in under two-hours
About the Author: William E. Powelson, a 65-year career drummer, began teaching the trade in the early 1960s. He has written 5 best-selling drum set courses over the many years of his teaching career. A unique combination of onstage 'ear' playing and studio academic studies plus drum-machine software development created this explosion of rarely understood phenomenal NEW song beat knowledge.