Power Point Rhythm-Short - Illinois · PDF filecertainly encourage his students and colleagues to use the Takadimi system” (Phillip Tacka, personal communication, April 20, 2005)."

Music Literacy��Rhythm

Carol J. Krueger��Director of Choral Activities

Valdosta State University [email protected]

carolkruegermusic.com

“Musical literacy is as universally

possible as linguistic literacy and the

development of such literacy is an

obligation of the schools.”

Lois Choksy

Why Music Literacy?��One need not be able to read and write to make music.

Linguistic Literacy •  Those who are illiterate

are DEPENDENT upon others; only oral – aural communication;

•  Being able to read and write allows us to function in society; –  Becomes an independent

creator and learner of stories, now able to communicate across space and time. Don P. Ester

Music Literacy •  Those who are illiterate

are DEPENDENT upon others; only oral – aural communication.

•  Ability to read and write music notation makes for an independent musician. –  The restrictions on

communicating and learning are removed; horizons can expand beyond previous limits.

–  EMPOWER not ENABLE

•  Process of learning music is much the same as learning language. –  Listened to language-even in womb; surrounded by

conversation; became acculturated to it; –  Tried to imitate; must pass through ‘babble’ before

imitation; –  Began to think in it; words and phrases began to have

meaning; –  Began to improvise in the language; engage in conversation;

developed ability to think and speak –  Learned to read and write;

•  Language development and achievement would have been affected if any of the steps had been skipped.

•  Process of learning music: – Listen and absorb a wide variety of music; became

acculturated to it; – Must pass through ‘babble’ stage before accurate

imitation; – Audiate or think in it; hear and comprehend in one’s

mind; awareness of underlying tonality and meter; complex process;

–  Improvise in the language; engage in conversation; develop ability to think and accurately perform;

– Learn to read and write;

Music Literacy

•  Ability to translate notation into vocal sound (reading) and sound into notation (notating). –  Singing voice is the fundamental instrument for all musicians.

•  “If you can sing it, you can hear it; if you can hear it, you can sing it”. –  Ability to sight-read notation on any instrument is an

important and valuable skill. However, being able to press the correct keys on an instrument in response to notation does not confirm that the performer can audiate the music.

–  “To teach a child an instrument without first giving him preparatory training and without developing singing, reading and dictating to the highest level along with the playing is to build upon sand.”~ Zoltán Kodály

–  DECODING vs LITERACY

Audiation—Thinking Sound��Inner Hearing

•  The ability to hear the music internally, provides the foundation for comprehensive music literacy.

•  “We should read music in the same way that an educated adult will read a book: in silence, but imagining the sound.”

~Zoltán Kodály

Music Educator must….. •  be committed to improving the literacy level;

•  communicate enthusiastically the importance of music literacy;

•  believe in your students’ ability to learn to learn to read, write and audiate;

•  develop a carefully sequenced instructional approach that includes specific teaching strategies built on a foundation of current research and learning theory. –  Usable at all levels (K-Collegiate) and in any setting (Elementary, General

Music, Secondary/Collegiate Instrumental and Choral Rehearsals, Collegiate Aural-skills Courses).

–  Must be taught in Methods Courses.

Pedagogy •  Based on:

–  Johann Heinrich Pestalozzi (1746-1827) Sound-Before-Sight-Before Theory

– Zoltan Kodàly (1882-1967)

Prepare—Present—Practice—Prove

–  Jerome Bruner (1915) Enactive-Iconic-Symbolic Mode

(action-pictorial-language) Introduced the ideas of ‘readiness for learning’ and spiral curriculum.

– Edwin Gordon Music Learning Theory

Music is an aural art. •  Sound

–  Hear, sing/chant through imitation before reading and writing

•  Sign –  Sound + verbal association (syllable)

•  Symbol –  Visual representation of the sound/sign

•  Theory –  Give principles and theory only after practice and as they become relevant

“Action will remove the doubt that theory cannot solve.” – Petryl Hsieh

You can spend your whole life thinking and theorizing, but it is only through action that you gain clarity. Theory can only take you so far. When you actually start taking action, things are much different than in theory.

Literacy Process ��Sound before Sight

Tools ��[facilitate cognitive processing]��

Systems for Reading Rhythm��

!  Rhythm systems must serve the needs of the learning approach used by the teacher; they must not drive the approach or be the approach.

Systems for reading rhythm should: !  Promote extremely well-articulated rhythmic accuracy;

!  Facilitate the generalization of identical patterns from one meter to another. For example, half notes in 2/2 should be chanted the same as quarter notes in 2/4.

!  Assist in the aural identification, labeling, and accurate performance of different meters;

!  Connect very efficiently with the aural syntax of music, allowing learners to easily link syllables to patterns before encountering notation;

!  Link to musical symbols in a practical and intuitive manner;

!  Be appropriate for all ages, “womb to tomb”.

Kodaly��Notation-Based Rhythm Syllables

!  Modified French-Times-Names. Pattern-based rhythm-syllable system but without any consideration of metric function; strongly notation-based syllables.

!  Quarter note is always chanted the same (ta) whether it represents the beat in 2/4, the beat division in 2/2, or two-thirds of a beat in common compound meters. Assigning syllables to specific notation symbols, obstructs a sound-to- symbol strategy.

!  From a sound-first perspective, it’s near impossible to apply syllables in aural contexts.

!  Even some prominent Kodály educators (Phillip Tacka, Michael Houlihan) are recognizing this and beginning to urge the use of a sound-based syllable system – TAKADIMI .

Kodaly ta ti ti tri o la ti ka ti ka

McHose-Tibbs (Eastman System, 1945)��Notation-Based Rhythm Syllables

!  Measure-based and beat-oriented: each beat is numbered based on its placement in the measure; unique syllable combinations for any rhythmic patterns involving beat divisions in simple and compound meter. !  Uses the syllable ta for all subdivisions in both simple and compound meter. As a result, some very common patterns employ the same syllables.

!  From a sound-first perspective, “counting systems such as McHose and Tibbs require the presence and formal understanding of meter before the syllables can be applied, thus limiting application in aural contexts” (Hoffman, et al, 1996, p. 11).

McHose-Tibbs 1 2 te 3 la le 4 ta te ta

Gordon ��Beat Function Rhythm Syllables

!  Gordon modified McHose & Tibbs system. Since the initial publication of his system, Gordon (2003) dropped beat numbers altogether: all beats are now chanted using the syllable “du”, eliminating the need to make the additional and unnecessary decision of which number to chant.

!  Shares the same challenges related to the use of “ta” for all subdivisions as does McHose & Tibbs.

!  Made an extremely powerful contribution to rhythm pedagogy by recognizing the importance of syllable applications in variable-beat meters.

Gordon du du de du da di du ta de ta

TAKADIMI ��Beat Function Rhythm Syllables

!  Designed by three music theorists: Richard Hoffman, William Pelto, and John W. White (1996). All downbeats are “ta” regardless of meter; !  Surpasses most other systems by assigning specific syllables to each subdivision – no subdivision syllables are the same, even between simple and compound meter. !  Related subdivisions share the same vowel. !  Each syllable begins with a consonant, optimizing rhythmic accuracy; the system varies these consonants to ease enunciation. !  Additional syllable for quintuplets and septuplets; !  Syllables for variable-beat meters. !  A coordinated mid-point in both simple and compound meter is labeled with the syllable “di”.

Takadimi ta ta di ta ki da ta ka di mi

TAKADIMI ��“Womb to Tomb”

!  Womb to Tomb: Appropriate with the youngest and most novice learners as well as the most advanced musicians, providing the necessary tool to facilitate life-long, independent rhythm literacy.

! “The Takadimi rhythm system solves the problems associated with the Kodály rhythm syllables. We believe that were Kodály alive today, he would certainly encourage his students and colleagues to use the Takadimi system” (Phillip Tacka, personal communication, April 20, 2005).

! Ensemble directors are often strongly attached to the Counting or McHose & Tibbs systems; Because each and every beat is chanted “ta” regardless of meter, “ta” can easily be replaced with the number of the beat; makes for an extremely simple transition.

Teach Physical Response

CONTINUOUS MOVEMENT

FOUNDATION OF RHYTHM LITERACY

MICRO-BEAT

MACRO-BEAT

METER

Continuous Movement Teach students to move as music moves—continuously "  Students must feel the space between the beats or they will have a poor sense of tempo. Scarves encourage flowing, continuous movement;

"  As they move continuously, encourage them to shift their body weight and move side to side or back and forth. Students will ‘discover’ through movement, their own physical symmetry.

"  Marching and clapping are over-rated as they do not involve a shift of body weight. Walking is better than marching and patsching from the upper arm/shoulder is better than clapping, Clapping also doesn’t sustain sound. (Bluestine, 49-51, 92)

Teach Physical Response ��Internal Feeling of Pulse��

Macro-Beat and Micro-Beat Simple Meter

•  Beat (macro) –  Walk in place –  Down-Up patsch

•  Beat division (micro) –  Down-up Principle

•  Beat subdivision –  Two on down beat –  Two on upbeat

•  Borrowed Beat –  Circular motion

Compound Meter •  Beat (macro)

–  Walk in place –  Circular motion patsch

•  Beat division (micro) –  Circular patsch –  Down-up-up patsch

•  Beat subdivision –  Two on each part of

division •  Borrowed beat

–  Down-up Principle

Teach Physical Response��Internal Feeling of Meter��

Meter serves as organizing principal of rhythm context

•  Duple Meter – Patsch—Touch

•  Triple Meter – Patsch—Touch—Touch

•  Quadruple Meter – Patsch—Touch—High Patsch—Touch

Rhythm Motives/Patterns ��Iconic Representation of Duple Simple Meter & Micro-Beats

•  Rhythm Pattern or Motive a minimal rhythm unit that adds to the unity and variety of music. ←⎯⎯⎯⎯rhythm pattern1 ⎯⎯⎯⎯⎯→ ←⎯⎯rhythm pattern1 repeated exactly⎯→

←⎯⎯⎯⎯new rhythm pattern2 ⎯⎯⎯⎯→ ←⎯⎯rhythm pattern1 repeated exactly⎯→

❚ ❘ ❚ ❘ ❚ ❘ ❚ ❘ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ Hot cross buns, _____ Hot cross buns. _____

❚ ❘ ❚ ❘ ❚ ❘ ❚ ❘ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑ One a pen-ny, two a pen-ny, Hot cross buns. _____

Rhythm Pattern/Motives ��Iconic Representation of Duple Compound & Micro-Beats

←⎯⎯⎯⎯⎯⎯⎯rhythm pattern1 ⎯⎯⎯⎯⎯⎯→ ←⎯⎯⎯⎯⎯⎯rhythm pattern2 ⎯⎯⎯⎯⎯⎯⎯→

Beat ❚ ❘ ❚ ❘ ❚ ❘ ❚ ❘ Division ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ↓ ↑ ↑ Row, ___ row, ___ row your boat ___ gent – ly down the stream.__ (silence)

←⎯⎯⎯⎯⎯⎯⎯⎯rhythm pattern3 ⎯⎯⎯⎯⎯⎯⎯⎯→ ←⎯⎯⎯rhythm pattern2 repeated exactly⎯⎯⎯⎯⎯→

❚ ❘ ❚ ❘ ❚ ❘ ❚ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ↓ ↑ ↑ Mer–ri– ly mer–ri–ly, mer–ri– ly, mer– ri– ly, Life __ is but __ a dream.___ (silence)

Comparison ��of ��

Simple and Compound Meters

Iconic Representation of Meters

Rhythm Pattern/Motives ��Iconic Representation of Duple Compound Meter

←⎯⎯⎯⎯⎯⎯⎯rhythm pattern1 ⎯⎯⎯⎯⎯⎯⎯→ ←⎯⎯⎯⎯⎯⎯rhythm pattern2 ⎯⎯⎯⎯⎯⎯⎯→

←⎯⎯⎯⎯⎯⎯⎯rhythm pattern3 ⎯⎯⎯⎯⎯⎯⎯→ ←⎯⎯rhythm pattern2 repeated exactly⎯⎯⎯⎯⎯→

Beat ❚ ❘ ❚ ❘ ❚ ❘ ❚ ❘ Division ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ↓ ↑ ↑

❚ ❘ ❚ ❘ ❚ ❘ ❚ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ ❘ Teach Physical Response

CONTINUOUS MOVEMENT

FOUNDATION OF RHYTHM LITERACY

MICRO-BEAT

MACRO-BEAT

METER

TAKADIMI RHYTHM SYLLABLES��SIMPLE METER

BEAT LEVEL DIVISION SUBDIVISION

TAKADIMI RHYTHM SYLLABLES��TIES & EXTENSION DOTS


TAKADIMI-SYNCOPATION


TAKADIMI-COMPOUND METER

BEAT DIVISION SUBDIVISION

TAKADIMI—COMPOUND METER

•  TIES & EXTENSION DOTS •  SYNCOPATION

Musical Literacy Procedure •  Phase I—Reading Readiness or Preparation

–  Teach songs in a variety of meters and tonalities by rote –  Develop a sound vocabulary

•  Neutral echoing: learn musical patterns; patterns have meaning in and of themselves.

•  Syllable echoing: associate specific syllable labels with distinct patterns.

•  Echo translating: aural-verbal translation (dictation)

•  Phase II—Symbolic Association –  Reading: symbol # syllable # sound

–  Notating: sound # syllable # symbol

•  Phase III—Melodic Reading –  Integrating Tonal and Rhythm

Phase I ��Reading Readiness or Preparation��

Purpose: develop a “sound” vocabulary

•  Train the ear –  “In the ear and out the mouth”

•  Process centers around rote learning (imitation) •  Expose students to songs in a variety of meters

and tonalities (WHOLE) before you teach ‘patterns’ (PART).

Phase IA: Aural-Oral Skill Development ��“In the ear and out the mouth”

•  Rhythm Procedure: Neutral Echoing –  Teacher chants rhythm patterns on neutral syllable

while patsching the beat. –  Students echo on neutral syllable while patsching the

beat.

Students learn musical patterns; patterns have meaning in and of themselves.

Phase IB: Verbal Association ��Sound + Syllables = Sign

•  Rhythm Procedure: Syllable Echoing –  Teacher chants rhythm patterns on rhythm syllables while

quietly patsching or walking (heel march) to the beat; –  Students echo on rhythm syllables while quietly patsching

or walking (heel march) to the beat.

Simple Meter: Beat division use down-up motion.

Phase IC: Generalization

•  Rhythm Procedure: Echoing Translation – Teacher chants rhythm patterns on neutral

syllable; – Students echo on rhythm syllables while

patsching the beat.

•  Application to Literature – Aurally recognize rhythm patterns in familiar

pieces of music

Pattern Sequence-Simple Meter Level I

Level II

Pattern Sequence-Compound Meter Level I

Level II

Rhythm and Phrasing��

•  Not every downbeat has the same weight –  1 → 2, 3, 4

–  1, 2 → 3, 4

–  1, 2, 3 → 4

–  1, 2, 3, 4 → 1

Rhythm and Phrasing Rhythm and Phrasing

Dotted Rhythms •  The shorter notes should feel as though

they belong to the next note; –  Silently patsch using a large motion

from the upper body; –  Silently tap division on thigh, hand,

neighbor’s shoulders, neighbor’s hands, etc.;

–  Incorporate forward sweep conducting gesture, “Hand the Gift”, or “Hurl the Hog”;

–  Use TAKADIMI rhythm syllable system.

Rhythm ��and ��

Phrasing

Beat Subdivision

Slight accents are placed at

forward motion points.

Phase I Activities •  Aurally differentiate between:

–  Beat vs Rhythm –  Meter: Simple vs Compound –  Tempo: Fast vs Slow –  Same vs Different Rhythm Patterns

•  Play “Ball Game” –  Catch and Pass

•  Play “Family Feud” –  Aural / Oral –  Verbal Association –  Generalization

•  Improvise using rhythm patterns

Phase I Activity-Beat vs. Rhythm •  Locomotor realization of space —Dalcroze;

–  work for continual motion; •  Walk the rhythm, use hand on long notes; •  Walk the beat, make 90 degree turn on each phrase; •  Play popular piece; instruct students to walk the quarter

(beat), half, whole, sixteenth. •  Play popular piece; instruct students to walk the beat;

leader/teacher calls out ‘freeze for 8 beats’; students freeze and then walk again on 9th beat; repeat with a variety of ‘freeze beats’ (9, 11, 13, etc.). [Simon Says]

•  Patch meter, macro-beat or micro-beat while singing song;

Phase I: Micro and Macro Beat Tap . . . beat, beat division, beat subdivision, borrowed beat, sustained long notes, into neighbors hand; tap right hand into neighbors left hand.

–  Pairs, groups of fours, circles, etc.; –  At signal engage in rhythm motion of neighbor on left.

Phase I Activity Phase I Activity ��

Improvise Rhythm Patterns •  Listen to each rhythm pattern. After each pattern

improvise a similar but different pattern;

•  Listen to multiple rhythm patterns. After each series of patterns improvise a similar but different series of patterns.

Improvising a series of patterns is like speaking a sentence or phrase in language.

Phase I Assessment��(Aural-Oral)

Sample Question 1 Listen as two patterns are performed and then determine if they are the same or if they are different.

1.  Same Different 2.  Same Different

Sample Question 2. Listen as a rhythm pattern is performed and then determine if the pattern contains an upbeat eighth note or a downbeat eighth note.

1.  ⇑ beat e ⇓ beat e 2.  ⇑ beat e ⇓ beat e

Sample Question 3 Part A. Listen as a rhythm pattern is performed and then determine if the pattern contains a dotted quarter—eighth pattern.

1.  Yes No 2.  Yes No

Part B. If yes, circle the beat number on which the pattern began.

1.  Beat 1 Beat 2 Beat 3 Beat 4 2.  Beat 1 Beat 2 Beat 3 Beat 4

Phase I Assessment��(Aural-Oral)

Sample Question 4 Listen as two patterns are performed and then determine if they share the same meter.

1.  Same Different 2.  Same Different

Sample Question 5 Listen as a rhythm pattern is performed and then determine if the pattern is in simple meter or compound meter.

1.  Simple Compound 2.  Simple Compound

Sample Question 6 Part A. Listen as a rhythm pattern is performed and then determine if the pattern contains a dotted syncopated pattern.

1.  Yes No 2.  Yes No

Part B. If yes, circle the beat number on which the pattern began.

1.  Beat 1 Beat 2 Beat 3 Beat 4 2.  Beat 1 Beat 2 Beat 3 Beat 4

Phase II

Symbolic Association

Phase II: Symbolic Association •  Visually associate symbols (notation) with the sign (syllables + sound)

•  Read patterns learned during the “reading readiness” phase

•  Read exercises –  Drill –  Silent Reading, Audiation, Canon, Retrograde Canon –  Error Detection

•  Dictation –  “Symbolically fluent individuals ... have internalized the properties that symbols

embody” (cited in Colwell & Richardson, p. 290). This is the goal of aural dictation: representing a musical event symbolically and abstractly. If students learn to notate what they hear, they will be able to notate the music of others as well as their own creations.

Don P. Ester

•  Create, compose and improvise

Simple Meter��Relationship of Notes

Whole Note is equal to:

2 half notes

4 quarter notes

8 eighth notes

16 sixteenth notes

w˙ ˙œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Compound Meter��Relationship of Notes

Dotted Half Note is equal to:

2 dotted quarters

6 eighth notes

12 sixteenth notes

Parts of a Note Meter Signatures •  Basic Beat Categories

•  Suggested Meter Signatures: more accurately represents the aural experience.

Common Time •  The symbol is the equivalent of the meter

signature . – The symbol is NOT an abbreviation for common

time; it is a relic from a system of notation used during the Middle Ages.

– During this time the geometrically ‘perfect’ circle stood for triple meter, the number three representing the ‘perfection’ of the Holy Trinity, and was called tempus perfectum.

– An ‘imperfect’ half circle stood for duple or quadruple meter and was called tempus imperfectum.

Alla Breve

•  The symbol , a semicircle with a vertical line through it, signified tempus imperfectus diminutum during the Renaissance period.

•  In modern notation it is used in place of and is called alle breve or ‘cut time’ or ‘cut common time’.

Reading-Rhythm in Simple Meter •  Rhythm Pattern: Determine meter, set an appropriate tempo, establish

meter, chant pattern. Silently patsch beat with dominant hand.

At first, the echoing process is still employed: the teacher models a known pattern on syllables while showing the correlated symbols and the students echo on syllables.

•  Rhythm Exercise

Reading-Rhythm in Compound Meter •  Rhythm Pattern: Determine meter, set an appropriate tempo, establish

meter, chant pattern. Silently patsch beat with dominant hand.

•  Rhythm Exercise

Audiation Skills •  Silent Reading

a.

b.

•  Ensemble Exercise or Exercise for One Person a.

b.

•  Ensemble Exercise or Exercise for One Person a.

b.

MO

VEA

BLE TA

KA

DIM

I Simple Meter��

HALF NOTE = BEAT UNIT

•  Meter Signature

•  Notation

•  Comparison of Notation

Simple Meter��HALF NOTE = BEAT UNIT

1.

2.

3.

Asymmetrical Meters

Asymmetrical Meters Patterns

Exercises

Phase II Rhythm Activities

•  Use Rhythm Flash Cards

•  Identify Rhythm Patterns

•  Rhythm Tap –  Rhythm is tapped on

students back; student echoes pattern on rhythm syllables;

–  Rhythm is tapped on student’s back; student writes rhythm in shorthand and then chants on syllables

–  Student read rhythm from card, taps rhythm on next student’s shoulder; use process above.

•  Rhythm Bingo •  Tic-Tac-Toe

•  SWAT: Rhythm Rhythm Scramble •  Simple Meter: 3 X 5 Cards—on Board

•  Compound Meter: 3 X 5 Cards—on Board

œ œ œ œ jœ jœ œ .œ

œ œ jœ ‰‰ jœ œ

Rhythm

Scramble

Rhythm Dictation—Option 1

•  Popsicle Sticks

Rhythm Dictation—Option 2 •  3 X 5 Cards—Simple Meter

œw˙ Œ

Rhythm Dictation—Option 2 •  3 X 5 Cards: Simple Meter

œ œ jœ ‰ ‰ jœ

œjœ jœ

Rhythm Dictation—Option 2 •  3 X 5 Cards: Simple Meter

œ œ jœ ‰ ‰ jœ

œjœ jœ

Rhythm Dictation—Option 2 •  3 X 5 Cards—Compound Meter

œ œ œ œ jœ jœ œ

.˙.œ Œ .

Rhythm Dictation—Option 3 •  Dictation Shorthand

Rhythm Dictation—Option 3 •  Dictation Shorthand—Multi-Meter

Rhythm Dictation—Option 3 •  Dictation Shorthand—Compound Meter

•  Dictation Shorthand—Compound Multi-Meter

Phase II Assessment ��(Symbol-Visual Only)

•  Matching: Match the rhythm notation to the corresponding syllables.

Notation Rhythm Syllables

___1. a. Too –oo (Shh) Ta

___2. b. Too-oo Ta Ta

___3. c. Ta (Shh) Too -oo

___4. d. Ta (Shh) (Shh) Ta

44 ˙ œ œ44 œ Œ ˙44 œ Œ Œ œ44 ˙ Œ œ


•  Matching: Match the rhythm notation to the corresponding shorthand.

Notation Rhythm Shorthand

___1. a.

___2. b.

___3. c.

___4. d.

44 ˙ œ œ44 œ Œ ˙44 œ Œ Œ œ44 ˙ Œ œ

R

R

1

R R


•  Complete each of the missing sections.

Notation Rhythm Syllables Short Hand

1.

2. Tah - Tah - Too-oo

3.

4.

44 ˙ œ œ

44 ˙ Œ œR


Part A. Write the rhythm syllable for each of the notes and rests below.

Quarter note = beat unit

1.___ 2.___ 3.___ 4.___ 5.___ 6.___ 7.___ 8.___

Part B. Identify the type of note or rest. Select from: whole note (WH), whole rest (WR),

half note (HN), half rest (HR), quarter note (QN), or quarter rest (QR).


In each measure, convert the note-head into the indicated type of note, making all necessary changes.

Remember, the stem is drawn up from the right side if the note-head is placed below the center line of the staff or down from the left side if the note-head is placed on or above the center line of the staff.


Consult the meter signature and then add bar lines and a double bar at the appropriate places.

Phase II Assessment��Symbol-Visual

•  Using icons indicate the (a) meter and (b) micro-beat. Select from: Duple Simple

(strong-weak) ❚  ❘ ↓ ↑ ↓ ↑

Triple Simple (strong-weak-weak) ❚  ❘ ❘ ↓ ↑ ↓ ↑ ↓ ↑

Quadruple Simple (strong-weak-semi strong-weak) ❚  ❘ ❙ ❘ ↓ ↑ ↓ ↑ ↓ ↑ ↓ ↑

1.

2.

3.

•  In the following exercise indicate a: –  “U” for a singleton eighth note on an upbeat; –  “D” for a singleton eighth note on a downbeat; –  “ED” for an extension dot; –  “S” for slur; –  “T” for tie; –  “A” for anacrusis; and –  “BD” for a triplet (Borrowed Division).

Phase II Assessment (Symbol-Visual Only) Phase II Assessment ��

(Symbol-Visual Only)

Complete the meter signature for each example.


Circle the letter of the equivalent rhythm for each example. Phase II Assessment ��

(Symbol & Aural-Oral)

•  Listen as a pattern is performed on a neutral syllable. Circle the letter of the music notation that corresponds to the pattern performed.

•  All of the following patterns will be performed in a random order. Listen and determine the order in which they were performed.

Phase II Assessment��Aural-Oral & Symbolic Association

•  Error Detection A.  Listen and follow the notation of each example.

Determine if the performance and the notation are the same or different. 1. Same Different 3. Same Different 2. Same Different 4. Same Different

B.  Listen and follow the notation of each example. Circle the incorrect measure(s).

C.  Listen and follow the notation of each example. Circle the incorrect rhythm(s).

D. Listen and follow the notation of each example. Identify the incorrect rhythm(s) and then notate the correct rhythm(s).

Assessment Phase II: Rhythm Reading (Symbol & Aural/Oral)

Musicianship Skills Ensemble Skills

Vocal/Instrument Skills

Musicianship Skills Ensemble Skills

Vocal/Instrument Skills

Literature

Curriculum Map��Redbird—Rhythm Patterns ��

Phase II: Symbolic Association •  Read Patterns

–  Beat •  Read Patterns

–  Beat Division

Redbird-Rhythm Phrases •  Phase II: Symbolic Association

– Read Two-Part Rhythm

Apply Skills to Literature •  Read rhythm only in literature

Angel Song Mary Goetze, AMP 0439

•  Retention is dependent upon immediate and consistent use of skill.

Apply Skills to Literature •  Read rhythm only in literature

O Music, Thou Most Lovely Art Johann Jeep (1532-1650)

•  Retention is dependent upon immediate and consistent use of skill. “If we’re growing, we’re always going to be out of our comfort zone.”

– John Maxwell

Out-of-Sequence Skills ��Simple Meter-Super Triplets ��

“From Where I Stood”, Joshua Shank, page 11, measure 43 I am always doing that which I cannot do,

in order that I may learn how to do it.

~Pablo Picasso

Oxford University Press Progressive Sight Singing

Second Edition

ISBN 0195386043

Companion Website

http://www.oup.com/us/krueger

E-Mail

[email protected]

Summer��2015 ��

MUSIC LITERACY ��

& ��CHORAL��

W��O��R ��K��S ��H��O��P��S ��

CAROL J. KRUEGER

!  June 8-11, Literacy Workshop Morningside College, Sioux City, IA

Heath Weber: [email protected]

!  June 24-25, Illinois ACDA Summer Retreat Normal, IL

Website: http://new.il-acda.org/

!  July 13-15, Literacy Workshop Stuart Cramer High School, Belmont, NC

Bethany Jennings: [email protected]

!  July 27-31, Literacy & Choral/Conducting Workshop Shenandoah University, Winchester, VA Jeffrey Marlatt: [email protected]

!  August 3-5, Literacy Workshop Luther College, Decorah, IA Jill Wilson: [email protected]

!  August 6-8, Literacy/Choral Workshop Meredith College, Raleigh, NC Jane Bruer: [email protected]

Website: http://www.ncmusicworkshop.com

Resources ! Old and New Rounds and Canons. Harry R. Wilson, Harold Flammer Music, G-5002 ! 150 Rounds for Singing and Teaching. Bolkovac and Johnson. Boosey & Hawkes, 1996. ! The King’s Singers Book of Rounds, Canons and Partsongs. Hal Leonard: HL 08743259

! Pentatonic Partners. Cristi Cary Miller, Hal Leonard: 09970253

! Five Concert Canons. (3-5 voices) Ron Jeffers. Earthsongs, B-08

Resources ! Smart Moves: Why Learning Is Not All In Your Head,

Carla Hannaford, ISBN 0-915556-37-5 ! The Dominance Factor,

Carla Hannaford, ISBN 0-915556-31-6 ! The Ways Children Learn Music, An Introduction and

Practical Guide to Music Learning Theory, Eric Bluestein, GIA Publications, G 5440

! Music Play: The Early Childhood Music Curriculum Guide; Valerio, Reynolds, Bolton, Taggart and Gordon. GIA Publications, G-J236

! Jump Right In Song Collections David Woods and Edwin Gordon, GIA Publication, G-J13

Resources—Website

•  New York City Blueprint for Teaching and Learning in Music. –  www.carnegiehall.org/Education/Music-Educators-Toolbox/

•  Kindergarten – Grade 5

Teaching Tool Websites ! Free “positive feedback” postcards

http://www.Vistaprint.com ! Free Web-based Music Notation Program

www.noteflight.com ! Main Website with all sorts of teacher tools

http://www.murray.k12.ga.us/teacher/kara%20leonard/TeacherTools.htm

! Game show templates and sound byte http://www.murray.k12.ga.us/teacher/kara%20leonard/

MiniT/Games/Games.htm#gameshows

Behold the turtle. . . He makes progress only when

he sticks his neck out.

James Bryant Conant US chemist, diplomat, & educator

(1893 - 1978)

Documents

Power Point Rhythm-Short - Illinois · PDF filecertainly encourage his students and colleagues to use the Takadimi system” (Phillip Tacka, personal communication, April 20, 2005)."