Mike Longo’s “How to Sight Read Jazz & Other Syncopated Rhythms”

Syncopation is one of the most defining elements of jazz and many other rhythmic genres, yet mastering it can feel elusive to students and even seasoned musicians. Fortunately, Mike Longo, a legendary jazz pianist and educator, offers invaluable insights in his book, How to Read Jazz and Other Syncopated Type Rhythms. This follow-up to our blog The Additive Approach to Teaching Rhythm dives into Longo’s unique methods for understanding and feeling syncopation. His philosophy emphasizes that feeling the rhythm deeply comes from the music itself, not external effort. By understanding the guidelines he lays out, musicians can develop a more intuitive connection to syncopation.

In this blog, we’ll explore Longo’s core principles for reading syncopated rhythms, clarify and expand on his rules, and provide examples that illustrate their application.

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The Philosophy Behind Longo’s Approach

Before diving into the technical guidelines, it’s important to understand the philosophical underpinnings of Longo’s method. He believed that rhythm should be felt rather than intellectualized. By teaching students to internalize syncopation through the flow of the music, they can bypass the limitations of overthinking. Longo often referred to the ancient Greek concept of music majoris (music of the divine), suggesting that music naturally evokes emotion when rhythms are felt accurately. This eliminates the interference of ego, enabling musicians to focus entirely on the flow and expression of the music.

Longo’s Guidelines for Reading and Feeling Syncopation

Here are the key guidelines from Longo’s book, expanded with clarifications and additional examples for easier understanding:

1. Counting Off-Beats Followed by Rests

If an attack occurs on an off-beat and is followed by a rest, it should be counted as the number of the beat that follows the rest. This practice anchors the rhythm to the next strong beat, helping musicians maintain their place in the measure.

Example:

• Rhythm: – & | – – 2 – 3 – 4 -|
• Count: 1 2 3 4

Explanation: The attack on “&” of 4 is counted as “1” because the rest following it transitions to the downbeat of the next measure. This reinforces the connection between the off-beat and the next beat, simplifying the feel of syncopation.

2. Consecutive Off-Beats Are Counted by the Following Beat

When attacks occur on consecutive off-beats, each one is counted as the beat that follows it. This method ensures consistency in the flow of syncopated patterns.

Example:

• Rhythm: |1 & – & – & – &|
• Count: 1 2 3 4 1

Explanation: Each off-beat attack is linked to the beat that follows it, creating a natural rhythmic flow. This simplifies syncopated passages and keeps the count aligned with the measure’s structure.

3. Off-Beats Tied to Notes Are Counted by the Next Beat

An off-beat tied to a subsequent note is counted as the next beat. This eliminates ambiguity and maintains a clear sense of where the beat lies.

Example:

• Rhythm: |1 2 3 & (tied to beat 4)|
• Count: 1 2 3 4

Explanation: The tie connects the off-beat to the next downbeat, so the count naturally resolves to the next beat.

4. Off-Beats Followed by On-Beats Are Counted as “a”

If an off-beat is followed by an on-beat, the off-beat is counted as “a” (pronounced “uh”).

Example:

• Rhythm: & 4 &|1 & (tied to beat 2)  – – |
• Count: a 4 a 1 2

Explanation: Using “a” provides a distinct syllable to separate off-beats that lead into on-beats, making the rhythmic flow clearer.

5. Bars of Rests Express Only the Meter

When a full measure is silent, the count should express only the meter, ensuring the rhythm’s structure remains intact.

Example:

• Rhythm: (rest for entire bar in 4/4)
• Count: 1 2 3 4

Explanation: Even in silence, the meter’s structure is maintained, allowing musicians to stay in sync with the rhythm.

6. Triplet Rhythms Are Counted as “Tri-Pi-Let”

For triplets, use the syllables “tri-pi-let” to ensure even spacing and accurate subdivision.

Example:

• Rhythm: |1 – – 2 – – 3 & a 4 – -|
• Count: 1 2 tri-pi-let 4

Explanation: The “tri-pi-let” syllables maintain the triplet’s rhythmic integrity and help musicians internalize the feel of three equal parts within a beat.

7. Counting 16th Notes in Additive Groupings

Longo suggests counting 16th notes in 8/8 (grouped into additive subdivisions) to simplify complex rhythms.

Example:

• Rhythm: |1 e & a 2 e – a – e & a – – & a|
• Count: |1 a 2 a 3 4 5 a 6 7 8 1|

Explanation: This approach groups 16th notes into manageable units, making intricate passages easier to read and perform. Note the use of “sev” for seven in this count, which helps differentiate it from other syllables.

8. Counting Latin Rhythms in 4/8

For Latin rhythms in 2/4, counting them in 4/8 can align with the additive approach and better capture their syncopated essence.

Example:

• Rhythm: |1 e – a – e & a|
• Count: 1 2 3 a 4 a

Explanation: By breaking the rhythm into 4/8, the syncopation becomes clearer, allowing musicians to feel the rhythmic grouping more naturally.

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Examples of Longo’s Guidelines in Action

Let’s apply Longo’s guidelines to specific rhythmic examples to illustrate their practicality:

Example 1: Syncopated 2/4 Rhythm

• Rhythm: |1 e – a – e & a |1 e & a – e & a|
• Count: |1 2 3 a 4 a |1 a 2 3 a4 1|

Explanation: By grouping the rhythm into additive subdivisions, the syncopation becomes easier to read and internalize. Each syllable corresponds to a rhythmic attack or rest, maintaining the structure of the meter.

Example 2: Syncopation in 4/4

• Rhythm: |1-2-3–&|—&3-4&|
• Count: |1 2 3 1|a 3 4 1|

Explanation: The off-beats are clearly defined by the use of “a,” ensuring that the syncopation aligns with the overall rhythmic structure.

Example 3: Complex Syncopation in 4/4

• Rhythm: |1&2&-&4&|-&2&—-|
• Count: |1 a2 3 a 4 1| a 2 3 |

Explanation: The additive grouping simplifies the syncopated pattern, making it easier to feel and perform accurately.

Example 4: Extended Syncopation Across Measures

• Rhythm: |———-&-4-&-|1–a–&—&-4-&-|1|
• Count: | a 4 a |1 2 3 a4 a|1|

Explanation: Even in extended passages, Longo’s approach maintains clarity by anchoring off-beats to the following beats or using distinct syllables for subdivisions.

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Why Longo’s Approach Works

Mike Longo’s methodology succeeds because it aligns technical rhythm training with the natural flow of music. By using clear, consistent syllables and focusing on the feel of the rhythm, his system bridges the gap between intellectual understanding and intuitive performance. This approach trains musicians to anticipate and internalize syncopation, enabling them to read and perform complex rhythms with confidence.

Additionally, his emphasis on rhythm as a divine element (music majoris) encourages musicians to approach their craft with humility and openness, allowing the music’s emotional power to shine through.

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Final Thoughts

Mike Longo’s tips for reading and feeling syncopation provide a transformative approach to mastering one of music’s most challenging elements. By following his guidelines and practicing the examples provided, musicians can deepen their understanding of rhythm, improve their sight-reading skills, and connect more authentically with the music they play.