Philosophy: On Rhythm and Time
At the beginning level, I believe that the approach to teaching rhythm should be analogous to teaching math. I would treat the quarter note as the basic unit; from there, I would draw connections to multiplication (repeating a single unit), division (breaking up the unit into two or more parts) and addition (lengthening notes using duration dots). Along with addressing these mathematical concepts, I would also introduce the temporal aspects of rhythm. To help build and reinforce a sense of internal pulse, I would have the students simply walk around in time to music, possibly incorporating simple body movements (a la Dalcroze eurhythmics). The use of the metronome at first is essential to help the students establish this sense of pulse, but I would wean them off of it within a few weeks, once it is apparent that they no longer need it.
The beginners would advance quickly through the rhythmic concepts since they can be taught away from the instrument and its inherent physical challenges. The beginning students would be expected to sight-read rhythms every day, vocalizing or clapping individually and as an ensemble, starting with simple one-measure excerpts and expanding out in length and difficulty. I would use rote-to-note teaching heavily in lessons on rhythm ----- having students echo patterns to build and reinforce their musical short term memory then dictating rhythms on paper to develop skills in audiation and notation.
Some other strategies I would use include using speech cues and establishing a consistent counting system. At the early stages, I would use a variety of different words or combinations of words to introduce new rhythms. The students would be able to go from what they know (the words or phrases) and apply that to the new concept (the musical rhythm). I would establish the counting system early on as well, and it would streamline discussion about rhythms in a rehearsal setting.
At the intermediate and advanced levels, the expectations for rhythmic fluency would remain high, the curriculum building on itself with each aspect increasing appropriately in difficulty. I would utilize the spiral approach, focusing on a different concept each day and filling in the details as the units progress, all while doing regular individual and ensemble assessment. The students would continue to be assessed on their ability to sight read a variety of rhythms at different tempi and in different meters. Students would also be expected to be able to improvise simple to complex rhythmic patterns and also echo them back in time, possibly based on a jazz band model. These call-and-response activities are integral to the rote-before-note teaching strategy, and they will help students further understand and appreciate the nuances of rhythmic variety.
Rhythm and time are the framework in which music exists, providing a firm foundation for expressivity and drama. Teaching students to train their bodies, eyes and ears to be sensitive to patterns and pulse is essential for their development to become successful musicians.
The beginners would advance quickly through the rhythmic concepts since they can be taught away from the instrument and its inherent physical challenges. The beginning students would be expected to sight-read rhythms every day, vocalizing or clapping individually and as an ensemble, starting with simple one-measure excerpts and expanding out in length and difficulty. I would use rote-to-note teaching heavily in lessons on rhythm ----- having students echo patterns to build and reinforce their musical short term memory then dictating rhythms on paper to develop skills in audiation and notation.
Some other strategies I would use include using speech cues and establishing a consistent counting system. At the early stages, I would use a variety of different words or combinations of words to introduce new rhythms. The students would be able to go from what they know (the words or phrases) and apply that to the new concept (the musical rhythm). I would establish the counting system early on as well, and it would streamline discussion about rhythms in a rehearsal setting.
At the intermediate and advanced levels, the expectations for rhythmic fluency would remain high, the curriculum building on itself with each aspect increasing appropriately in difficulty. I would utilize the spiral approach, focusing on a different concept each day and filling in the details as the units progress, all while doing regular individual and ensemble assessment. The students would continue to be assessed on their ability to sight read a variety of rhythms at different tempi and in different meters. Students would also be expected to be able to improvise simple to complex rhythmic patterns and also echo them back in time, possibly based on a jazz band model. These call-and-response activities are integral to the rote-before-note teaching strategy, and they will help students further understand and appreciate the nuances of rhythmic variety.
Rhythm and time are the framework in which music exists, providing a firm foundation for expressivity and drama. Teaching students to train their bodies, eyes and ears to be sensitive to patterns and pulse is essential for their development to become successful musicians.