Teaching Rhythm with Intention
Music is comprised of—but not entirely lim- ited to—two essential elements: rhythm and pitch. As music educators we are challenged to balance instruction of these key elements while bringing to fruition technical, musical and artistic performances. Choral music classrooms are oſten replete with attractive signage that re- flects pitch learning tools, such as solfege, scale degree numbers and/or hand signs. Indeed, we teach pitch skills with great intention but to what degree do we consciously impart rhythm skills to our choristers? Robert Shaw noted the need for, but lack of attention to rhythm in the rehearsal of choral music (Phillips, 2015). Further, Shaw suggested that 50% of intonation problems are likely caused by issues in rhyth- mic accuracy and precision. Shaw maintained that elements such as blend and intonation are greatly affected by the intention with which the placement of vowels, diphthongs and conso- nants are rhythmically/metrically placed.
Tat such a revered musician and educator exalted the importance of rhythm in the prepa- ration of choral music provides inspiration for considering what instructional factors might facilitate a keen awareness and understanding of rhythm in a choral setting—factors which may enhance not only rhythmic independence, but also increased awareness of ensemble in choral singing. From the outset, it is important to state that the choral music educator must facilitate the development of rhythmic under- standing with great intention. To this end, this short essay will consider rhythmic instruction that includes 1) intentional employment of a sequential hierarchy of rhythm patterns, 2) in- tentional implementation of an effective count- ing system, 3) intentional selection of repertoire that embodies common rhythmic patterns and 4) intentional application of rhythmic under- standing to enhance blend, intonation and general artistry.
Intentional choice of hierarchical sequence of rhythmic patterns
In contemplation of teaching rhythm with
Charles Norris
intention it seems appropriate to first define the rhythm content to be taught. Te most commonly used music education approach- es (e.g., Kodaly and Music Learning Teory) employ hierarchies of rhythm patterns that are common in all types of music. Said hierar- chies, each increasingly complex, can become the rhythmic vocabulary for the learners and the content around which a choral instructor designs rehearsal plans. While the sequence of patterns in the more common methodologies are helpful, the sequence of rhythm patterns used throughout Ottman’s (1967) sight singing text seem to best reflect the rhythmic content encountered of music of all genres. In all, there are 8 one-beat duple (simple) patterns and their partner “rest” patterns and 16 one-beat triple (compound) patterns and their partner “rest” patterns. Figure 1 depicts the rhythm patterns commonly found in choral literature. A quick glance reveals increasing levels of complexity as one moves across and down the page. Regard- less of the choice in hierarchical rhythm con- tent, singers should be engaged with both duple and triple patterns, starting with the simplest patterns, moving towards the more complex over time.
Figure 1. Sampling of hierarchy of duple (simple) and triple (compound) rhythm patterns, with verbal associations.
Adapted from Ottman (1967). 26
Choral
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