Submitted by Joan Fasullo
There’s no question that we all want our elementary students to have a solid foundation in rhythm. Igor Stravinsky said, “There is music wherever there is rhythm, as there is life wherever there is a pulse.” In terms of rhythm, whether it’s playing eighth notes, triplets, rests, or the pesky dotted quarter note & eighth, I believe that adequately preparing students for a new rhythm and its notation is critical to developing that strong foundation. The following is a description of what I do when a student is going to have an eighth rest(s) in a piece for the very first time.
My goal is for the student to respond to any new rhythmic notation securely before I ever assign it in a piece. Using the “sound, feel, sign, name” philosophy, I do short drills at each lesson which take just a few minutes.
There’s no question that we all want our elementary students to have a solid foundation in rhythm. Igor Stravinsky said, “There is music wherever there is rhythm, as there is life wherever there is a pulse.” In terms of rhythm, whether it’s playing eighth notes, triplets, rests, or the pesky dotted quarter note & eighth, I believe that adequately preparing students for a new rhythm and its notation is critical to developing that strong foundation. The following is a description of what I do when a student is going to have an eighth rest(s) in a piece for the very first time.
My goal is for the student to respond to any new rhythmic notation securely before I ever assign it in a piece. Using the “sound, feel, sign, name” philosophy, I do short drills at each lesson which take just a few minutes.
1. Play the new rhythm for the student using no notation. Using a single key on the piano, I play something like this:
2. Ask the student to describe what he hears. With eighth rests, the student might say, “I hear hiccups,” or “I hear some whispers.” Someone might even say “there are rests.” If this happens, I encourage him to be as descriptive of the length of the rest as possible – “Is it a long rest or a short rest?” I think it’s important that the student describes the sound in his own words, as this starts him on the path to “ownership” of the new rhythm.
3. Ask the student to imitate playing of the “hiccups” (or whatever descriptive word he used), using the pointer finger on a single key. Once he can do that easily I ask him to imitate using consecutive fingers within a 5-finger pattern. It’s important to keep things as simple as possible to ensure success with the new rhythm. No reading of the new eighth rest sign is involved at this point.
Here are four samples of a first measure for RH alone (or LH alone one octave lower). You should play @ three additional measures, putting the eighth rest on a different beat each time. I suggest giving equal treatment to each hand separately, as well as examples in a variety of meters. Choose a slow tempo at first.
Here are four samples of a first measure for RH alone (or LH alone one octave lower). You should play @ three additional measures, putting the eighth rest on a different beat each time. I suggest giving equal treatment to each hand separately, as well as examples in a variety of meters. Choose a slow tempo at first.
4. Using a grid with numbers on it, demonstrate how to point & count while keeping a steady pulse. In the case of preparing a rest, I simply leave a blank space in its place. The student whispers the missing number. Once secure, I assign the activity to be practiced daily at home. This is an ideal way for a student to practice a new rhythm without seeing the new sign!
5. Add tapping & counting the grid numbers on the keyboard cover. Once secure, assign it for daily practice.
6. Using a single key, assign to play the numbers on the grid. Once secure, assign it for daily practice.
7. Finally, show the symbol for the eighth rest and notate it on the new grid. For the first time, the student is playing & reading the new notation. Assign it for daily practice playing it on a single key and/or consecutive keys within one hand.
8. Introduce the name “eighth rest.” Some students will have already figured out its name since it replaces an eighth note on the grid.
9. The student imitates the playing of short (2-3 measure) melodies which contain the new rest, as in #3 above.
At this point, if I feel the student needs more time and/or experience to gain security, I include the use of a poem with an eighth rest in it. Students may walk the beat as they say the words or walk the rhythm as they feel a steady beat (harder). Younger students thoroughly enjoy this activity and engaging the whole body like this is an optimal way to lead to a strong rhythmic foundation.
At this point, if I feel the student needs more time and/or experience to gain security, I include the use of a poem with an eighth rest in it. Students may walk the beat as they say the words or walk the rhythm as they feel a steady beat (harder). Younger students thoroughly enjoy this activity and engaging the whole body like this is an optimal way to lead to a strong rhythmic foundation.
10. Reading & playing short patterns (2-4 measures) which include the new rest. I assign them to be played with both the RH alone, and the LH alone (an octave lower). See #3 above.
In closing I want to stress that if you decide to try these activities, it’s critical that the student demonstrates 100% security with each before moving on to the next step. Just how long you take to prepare a student for a new rhythm and its notation depends on the age and strength of the individual student. For some it takes a few weeks, and for others it takes several, but I believe you’ll find it’s time well spent!
You will find the Music Tree Activities books by Frances Clark to be chock full of rhythm patterns to be tapped, poems to chant and walk, and short melodic passages to be played. All lend themselves beautifully to these drills.
I’m just as eager as everyone else to move my students ahead rapidly, but I’ve learned that this kind of preparation actually saves time by preventing wasted lesson time fixing mistakes. Preventing rhythmic errors by preparing ahead develops students with the rhythmic security to play musically!
In closing I want to stress that if you decide to try these activities, it’s critical that the student demonstrates 100% security with each before moving on to the next step. Just how long you take to prepare a student for a new rhythm and its notation depends on the age and strength of the individual student. For some it takes a few weeks, and for others it takes several, but I believe you’ll find it’s time well spent!
You will find the Music Tree Activities books by Frances Clark to be chock full of rhythm patterns to be tapped, poems to chant and walk, and short melodic passages to be played. All lend themselves beautifully to these drills.
I’m just as eager as everyone else to move my students ahead rapidly, but I’ve learned that this kind of preparation actually saves time by preventing wasted lesson time fixing mistakes. Preventing rhythmic errors by preparing ahead develops students with the rhythmic security to play musically!
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