triple pattern, triple pattern, duple pattern) and 3) borrowed patterns (duplets within a triple meter, for example).


& 8 7 œ


J œ œ


du (da) di du (de) œ du (de) du


œj jœ da


œj œ di


œ du (de) du (de) œ


J œ œ


du (da) di œ du (de) du (de) du


œj jœ da


œj œ di


œ du (de du de) Figure 3. Principal theme from Te Feller from Fortune (Somers, 1978) Figure 4.


Repertoire used as described above can be invaluable in developing independent rhythm skills. In tandem with studying carefully chosen pieces, students should engage in teacher generated aural exercises which require them to audiate the focus rhythm patterns (and those that come be- fore in the chosen hierarchy) and associate them with both verbal associations and notation. Creative activities, such as short composition exercises, are also helpful in reinforcing acquisition of the rhythm vocabulary. Intentional teaching of rhythm will help singers audiate more completely with increasing skills in deciphering notation, making rehears- als move faster. Beyond the aforementioned goals of music literacy, choral singers can apply rhythmic precision to aid in establishing good choral sound.


Intentional use of rhythm to improve intonation and blend


Increasing rhythmic acuity will facilitate an ensemble’s ability to execute musical nuances (and of course, execution of musical nuance can reinforce rhythmic acuity). Rhyth- mic audiation allows singers to not only place consonants in very specific places, but also makes tricky phrase end- ings tidy and completely together, all courtesy of rhythm syllables. Rhythmic counting also assists all singers to move through diphthongs together, moving from one vowel sound to the next at exactly the same time. Figure 4 illustrates how rhythmic verbal associations can be used to execute diphthongs as an ensemble. Students who can consistently audiate four sixteenth notes, can place vowels at precisely determined points to ensure optimal tuning, blend and of course, intonation. Students and conductor will also find rhythmic counting via syllables useful in placing consonants in any number of situations, such as when a phrase must be stretched to take a breath. All of these are intentional (and simple) techniques that enhance rhythmic understanding while giving singers the ability to refine into- nation, blend and ensemble.


Rhythmic precision in executing diphthongs (International Phonetic Alpha- bet) and verbal associations for rhythm).


Conclusion


Teaching rhythm with intention comes down to four things: content, method, context and application. A choral director can consciously organize instruction around music ele- ments: in this case, a hierarchy of rhythm patterns. Simulta- neously, the choral director can assign rhythm patterns their verbal associations, with which students will audiate and read music. Students will then experience select patterns in the study of exemplar pieces. Although specific instruction- al components may vary by conductor, two ends remain in sight—to give musical (rhythmic) independence to students and to apply said independence to artistic refinement. In the end, intentional teaching of rhythm can and should make teaching and learning more interesting, focused and enjoyable.


References


Garretson, R. (1998). Conducting choral music. Upper Sad- dle River, New Jersey: Prentice-Hall.


Ottman, R. (1967). Music for sight singing. Englewood Cliffs, New Jersey: Prentice-Hall.


Phillips, K. (2015). Directing the choral music program. New York: Oxford University Press.


Porterfield, S. (1991). Te tiger. Miami: CPP/Belwin, Inc. Somers, H. (1978). Te feller from fortune. Toronto: Gordon V. Tompson Music.


Charles Norris is Professor of Music Edu- cation at Grand Valley State University. A thirteen-year veteran of K-12 music teach- ing, he brings practical experience into a variety of music education methods courses at Grand Valley State University. Dr. Norris also teaches aural perception and sight sing- ing, choral conducting, conducts GVSU Var- sity Men and directs graduate research. Dr. Norris is a Past-President of the Michigan Music Educators Association and has served


on the editorial board of the Michigan Music Conference. 28


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40