Rhythm - using different books

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Rhythmic Reading and Rhythmic solmization

Presented by

Mr. Kerry Kennard

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Overview

Explain how all the individual topics fit together

Sight-Singing

Listening / hearing

Rhythm

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Vocabulary

Terms as used in this subject: ‘Ta,’ ‘Te,’ Quarter , Eighth, and Sixteenth,

note values. Also, rest values of the same value.

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Ottman, Robert, Music for Sight Singing, 3rd Edition,

Chapter 1 , © 1986

Preface Skill in sight singing is dependent upon the ability to perform both rhythmic and melodic patterns. For this reason, the melodies in this volume are graded according to both rhythmic and melodic difficulty. Each chapter introduces a new problem in relation to one or the other factor, but not to both simultaneously.

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Chapter 1 , © 1986

Rhythmic Reading (in Chapter 1) Rhythmic reading is best accomplished through the use of rhythmic syllables, as shown in the measures of the following example.

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Chapter 1 , © 1986

A) Each note value occurring on the beat is read with the number of that beat (measure 1)

B) For a note value longer than one beat, hold the number spoken for the duration of the note value (next measures)

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Chapter 1 , © 1986

C) Note values shorter than the beat (appearing other than on the beat) may be read with the syllable “ta”, or as “te” in measure three (3).

D) A rest indicates silence. Make no sound (last measure).

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Chapter 1 , © 1986Section 1: The Quarter note as the beat unit;

undotted note values.

Examples from the book - we’ll try a few in class(Pg. 2-5) examples 1-29

Section 2: Dotted note values; tied notes.

Section 3: The half note and the eighth note as beat units

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Chapter 3 , © 1986 Compound time (meter) - the beat and its division into three

parts In compound time, the beat is divisible into three

equal parts and therefore is represented by a dotted note value. In 6/8, for example, the dotted quarter note representing the beat is divisible into three eighth notes. In this chapter, the note valued representing the compound division of the beat will be the shortest note value used.

Rhythmic Reading Procedures for rhythmic reading in compound time are similar

to those in simple time (recently studied). The triple division of the beat may be read with the syllable “ta” (one ta ta) or with “la” “lee” (one la lee) . The latter is useful when it is desired the rhythmic syllables differentiate simple and compound time.

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Chapter 3 , © 1986Section 1 - The dotted quarter note as the beat unit.

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Chapter 3 , © 1986Section 2 - The dotted half note and the doted

eighth note as beat units.

These rhythms will play and sound exactly alike, even though both are in different time signatures.

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Chapter 8, © 1986 Rhythm -the subdivision of the beat: the simple beat into four parts; the compound beat into six parts.

Rhythmic Reading - Simple TimeIn Simple time, the beat may be subdivided in four parts - for

example and so forth.

All note values shorter than the beat may be read using the syllable “ta.”

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Chapter 8, © 1986 Rhythm -the subdivision of the beat: the simple beat into four parts; the compound beat into six parts.

When using the syllable “te” for the divided beat, note values shorter than “te” are read using “ta.”

Read each line, repeating without interrupting the tempo, until it is mastered. Continue in a like manner with the following line. When lines are completed, skip from one line to any other line, as directed or as chosen, without interrupting the tempo.

Lets try a couple of exercises ( pgs 110-111 or 414-428)!

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Chapter 13, © 1986 Syncopation in beat-note and divided beat patternsSyncopation occurs when the normal or expected pattern of

meter or accent is deliberately upset. Syncopation can be created by:1. Accenting a weak beat or a weak part of a beat:

2. Tying a weak beat into the next strong beat:

3.tying the weak beat part of a beat into the next beat:

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Chapter 13, © 1986 Syncopation in beat-note and divided beat patterns

Sight Singing, Diatonic Melodies

1. Simple time (section 4)2. Compound time (section 5)

(Let’s try some examples (pg 200)

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Chapter 17, © 1986Rhythm :Changing time signatures; less common time signatures; the hemiola

Rhythmic Reading Section 1. Definitions and reading exercises A) Variable meters. The time signature is changed as needed

throughout the composition.

More examples in handout; 947-950

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Chapter 17, © 1986Rhythm :Changing time signatures; less common time

signatures; the hemiola

Rhythmic Reading Section 1. Definitions and reading exercises

B) Alternating meters with double or triple time signatures.

A double time signature, such as 2/4, 3/4 usually indicates regular alternation of the two signatures ( 2/4 3/4 or 3/4 2/4 etc.) or some other regular pattern (2/4 3/4 3/4 2/4 3/4 3/4 etc.). See melodies 947 and 957

C) Meters of 5 and 7 (Quintuple Simple and Septuple Simple Meters). There time signatures usually replace an alternating meter: 5/4 = 3/4 2/4 or 2/4 3/4. 7/8 = 4/8 3/8 or 3/8 4/8. For an example of quintuple compound meter, we will look at 961, written in the alternating meters of 9/8 and 6/8. By combining each pair of nine and six-beat measures, a signature of 15/8 cold have been used.

Let’s check out these examples (947-961)

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Chapter 17, © 1986How did book approach/teach topic? Ottman broke up different rhythmic topics in different chapters. The approach is an increase in difficulty of rhythms. What we covered went from quarter notes, 16th notes, and different time signatures within measures.

My opinions / justify my position

I find it healthy to increase knowledge chapter by chapter, as Ottman does. The examples relate to the text very good. The only negative is Ottman’s use of ‘ta’s and tee’s for rhythmic syllables (8ths and 16th notes). Ottman, at least, should differentiate between 8th and 16th note syllables.

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Linton, Stanley, Music Fundamentals and functional

skills, © 1984 Reading Patterns

Learning to read and perform rhythm can be facilitated by ways of practice enabling you to physically keep the beat and speak (vocalize) patterns. We use a system in which you clap tempo beats and speak patterns with either rhythm syllables or counts.

Reading rhythm patterns alone can be done by speaking their sounds with either a syllable system or the traditional counting system. You should practice both ways, for while syllables provide an easy, accurate approach to building correct responses to basic discrete patterns, counts establish an awareness where patterns fall within the measure. Of the two systems, syllables possess a more vocal and musical quality. Learn the syllables and counts for beat durations and combined durations (two-beat and four-beat).

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skills, © 1984 Reading Patterns (continued) Beat Patterns and Combined Patterns Apply the following procedures for reading notated rhythm exercises that include

beat durations and combined durations in 2/3, 3/4, and 4/4. You should realize observance of the exact duration of a notated silence (rest) is as important as speaking sounds correctly, and you must keep your beat steady through rests.

1) Start your beat - clapping at the indicated tempo - fast, moderate, or slow - during the introductory measure.

2) Continue clapping the tempo beat while you read the patterns of duration with ‘rhythm syllables.’

3) Repeat the entire exercise with rhythm counts 4) Extract and practice any measures presenting a problem. 5) Continue practicing until the beats and patterns are accurate, physically

coordinated, and comfortable.

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skills, © 1984 Divided Patterns A divided pattern in simple meter is a duple division that splits the beat duration

into two equal parts. When a quarter note is divided, it represents an 8th note or rest. You also should learn rhythm syllables (ti-ti, spoken tee-tee) and counts (1 &, spoken “one and” or an) applied to a divided pattern of two sounds. Continue to exercises containing divided patterns (8th notes) and read each exercise by speaking its patterns with rhythm syllables or counts while clapping tempo beats.

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skills, © 1984 Reading Melodic Rhythm (putting it all together) Melodic rhythm is the overall durational component of a melody and is comprised

of its various patterns of duration. Sight reading rhythm in the next melodic phrases can be done rather easily by following these procedures:

1) Identify the meter signature, meter, and beat unit (quarter note). 2) Determine the appropreiate tempo - fast moderate, or slow. 3) Make a visual overview of the notated melody and identify familiar

patterns. 4) Establish and maintain your tempo beat by clapping it, and read the

melodic rhythm with rhythmsyllables or counts. 5) Sing or play the melodic phrases in accurage rhythm. (page 39 in your handout)

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skills, © 1984How did book approach/teach topic? As I mentioned before in other reports, Linton’s target audience is for college non-major students. The information is straight forward and begins in chapter one. The Ta’s and Ti’s are similar to the syllables used in Ottman. The explanations how to do it are very clear and helpful to the beginning student.

My opinions / justify my position I like the book, but prefer the Ottman text over this. Although, what we are going to cover next is what I prefer - in percussion syllables. I have used these syllables over 20 years and believe saying the next syllables is quicker and smoother than both of these books combined. Why? The shorter syllables make sense musically, especially if the student wants to increase the tempo a little faster later.

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Haskell Harr, Drum Method (for band and Orchestra) Hal Leonard

PublishingTo play the eighth notes in the following exercises, divide the beatBy adding the word “AND” after each number, thus:

I am adding this because I feel this solmaztion works the best counting rhythms. For 8th notes, say the following:

“1 & 2 &,” etc.

For 16th notes say: “1 e and da.” not “ah”. It adds a shorter sound and you can say it faster than “ah.”

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Haskell Harr, Drum Method (for band and Orchestra) Hal Leonard

Publishing

These rhythms and syllables should be applied to rhythmic reading during sight singing exercises.

Look at some examples: Pages 14 -15 & 23 - 24

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SummaryRogers, Michael, R., Teaching Approaches in Music Theory Rhythmic study is a topic that should be mastered intellectually.

Understanding rhythm and meter is essential for any musician. Other important aspects include: beat, pulse, strong vs. weak beats, basic duration and tempo - most important for rhythmic ear training.

One of the best devices for teaching rhythmic ear training is subdivision.

Simplification methods (similar to reduction technique in pitch analysis) for rhythm are very effective. Subdivision benefits are most fully realized in rhythmic syllables (e.g., “one-ee and-a, two-ee-and-a, etc.). Such systems superimpose a steady stream of mini-beats - a meter within a meter - onto actual durations themselves. Working with a metronome is beneficial for many - but a distraction for others.

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Where to Get More Information Outside book source: “Rhythmic Reading for

All Instruments,” by Dirk Rosenbaum

Rhythm - using different books

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