alexfun
|
| Thu Jul 13, 2006 11:17 am ARTICLE: Rhythm Mastery: A Long Term Solution |
|
|
Rhythm Mastery: A Long Term Solution
byWilliam Berz
The goal of attaining rhythmical excellence is important in all areas of school music performance, whether it be marching band, concert band, or jazz ensemble. In fact, rhythm might be the most important of any of the musical elements in performance, for with poor rhythm the music will simply not hold together. All music students, regardless of age or experience, must face rhythmic challenges and complexities head-on, not only to improve their ensemble's performance, but also to develop their own musical skills. This must be one of the most important concepts to be addressed by band teachers regardless of instructional level. This is truly a sequential objective. Mastery must begin with very basic skills and then progress to more complex levels. Teachers at all levels--elementary, middle school, and high school--need to coordinate their teaching. Instruction should take place during the students' entire educational career. There may be quick fixes that can be used for addressing certain rhythmic challenges; rote teaching is certainly one such means. However, there is really no simple method for developing true understanding--only long term solutions.
A System for Rhythmic Mastery
Students achieve understanding of rhythm primarily through mastery of two skills: being able to internalize the pulse with the skill to transfer it into actual performance, and being able to translate musical symbols into practice. Time and perseverance are required to reach these goals.
Physical Expression of the Pulse
As a band teacher, the first problem to face is the issue of pulse. Each student must feel the pulse before any real rhythmic excellence can be achieved. Probably the most basic way to achieve this goal is to have students express the beat physically. This approach has several benefits. First, the teacher can see if the student has an understanding of the beat, since s/he can actually see the student express the pulse. Even more importantly, this approach actually helps the student learn this concept in a deeper fashion.
The physical expression of the beat is accomplished in different ways depending on the educational setting. For example, string students must move the bow in relation to the pulse; this activity may need to be expanded somewhat since most bow strokes do not follow pulses, but follow smaller note values. Percussionists face similar problems and advantages. They too move according to the beat, but in many, if not most cases, they play notes that are subdivisions. In both instances, players may not have a full understanding of pulse. They may understand the theory behind the concept, but may not be able to feel or internalize the actual pulse.
Wind students, more than either percussionists or string players, must be taught to express the beat physically, because of the absence of gross muscle movements during playing. The normal method used to express the beat is to require them to tap the foot. My commitment to this approach was renewed a number of years ago when I visited a student teacher in the Randolph school district. The Randolph teachers, in both elementary and high schools, had adopted an approach for teaching rhythm where a key element in their very successful approach was the insistence that all students tap their foot.
There are many problems faced in getting students to tap. First, many students do not have the coordination necessary to do so. Some students are unable to tap and do the other physical and mental skills required to play their instrument. As in many tasks, a certain combination of patience and rigor is required. Since tapping is a skill not easily mastered, teachers must develop strategies to teach this effectively.
Second, many tempi are difficult to feel and maintain. When judging marching bands, this problem has been reinforced in my mind. Many bands have rather significant performance problems with slow tempi; some students do not have the maturity to feel and maintain a slow pulse. In such cases, many band members march and play out of phase with the established pulse creating rather significant performance errors. In terms of instruction, teachers must then develop methods to help students internalize pulse, first at moderate speeds, and then at slower and faster tempi. One exercise is to have students feel the pulse silently and then clap after a certain number of beats. With practice this can help students develop an internalized sense of the beat.
Rhythmic movement aside from tapping can also be employed. I increasing ask students to conduct or to clap the pulse while chanting or saying the rhythm. Sometimes when the technical requirements of playing the instrument are removed, students can focus more clearly on pulse and rhythm.
Some teachers object to foot tapping since it might be seen as distracting in the actual performance. Certainly, use of the foot tap is a means to an end. Hopefully as students gain maturity, they will be able to internalize the pulse. This however is a far more advanced goal and probably not very practical at elementary levels of instruction.
Notation Translation
Most music teachers have taught their students the rhythmic value of notation: a whole note equals 4 counts, a half equals 2, and so forth. While necessary, this does not really solve the problem since it is a theoretical rather than a practical approach; theory and practice are very different.
It is necessary then to establish a system for counting so that students can translate rhythmic notation. There are many such systems, each with advantages and disadvantages. Many instrumental teachers use the "1-e-and-a" approach. Other teachers employ Kodaly or Ed Sueta syllables. Any of these systems have the advantage of combining the physical expression of the pulse with the translation aid. Regardless of the label employed, students must fully understand the workings of the system so that they are able to translate the musical symbols.
When a system is well understood, students can either utilize the system on their own to translate the notation. Also, the teacher can use the rhythmic syllables with the entire ensemble to chant the rhythms in unison. As stated above, there can be a value in removing instrumental technique from the learning experience; simplification is often an important step.
Conclusion
Certainly, achieving excellence in performance is a challenging goal. Accurate and precise rhythmic performance is a vital step to this end. While more complicated than perhaps implied by the two step process outlined above, the suggested approach will help to focus instruction on the most basic (and important) skills. After a basic mastery of these skills is achieved, more advanced topics can be addressed. For example, subdivision might be the first on this list.
By having a firm grasp on these proficiencies, students can become independent musicians with a meaningful ability to feel and understand rhythm, able to not only contribute to their ensemble more fully but also to gain a deeper appreciation of music.
-------------------------------------------------------------------------------------
Reprinted with permission from Tempo, the official magazine of the New Jersey Music Educators Association.
Citation information:
Berz, William, "Rhythm Mastery: A Long Term Solution," Tempo, 52 no. 3 (March1998): 22-23. |
|
