Levels of Participation

The "Rhythm Masters" approach can be applied at several different levels. I realize it is awkward for us as educators to totally change instructional approaches. However, we are always looking for new and different ways to successfully reach a larger number of students. What can be more challenging, or more important, than a comprehensive and consistently accurate approach to reading rhythms?! Thus, the "Rhythm Masters" web site was launched, and it was designed to be as user friendly as possible.

The site begins with some ideas for slight modifications in your curriculum. For example, the site includes ensemble warm ups and exercises that you can use with your current counting system. Visitors can experiment with other materials and curriculum modifications on the "R.M." web site. No matter which counting approach you teach, your students will benefit from the vast amount of instructional materials available on this site. Each chapter in "Rhythm Masters" books I & II begins with one or two rhythm vocabulary lists. This approach is modeled after the spelling or vocabulary lists children learn to read in the early elementary grades These lists can be used for the initial instruction with students just beginning on their instruments, or as review materials for students with more experience. The instructional materials are no more than three to five minutes in length. Each chapter also has its own student performance assessment tool that can be used at the director's discretion. When set up properly, these assessment tools can accurately evaluate the performance of two to three musicians per minute.

Each director can choose how many different steps or exercises with which he/she wishes to experiment. Book III , for example, contains only the comprehensive rhythm vocabulary list, the "Play Drills", and the "Power Grids"that are featured in Books I and II. This approach can be used by band directors that prefer using a more traditional counting system. Below is an outline of the possible "levels of participation." The levels slowly progress from the more traditional approach (or division system) to teaching counting using "phonetic" and "cumulative" concepts.

"Participation Levels"

1. 3 to 5 minutes per class - Simply set this time aside in each class as part of your curriculum. Use this opportunity to review or advance your ensembles rhythm reading accuracy.
   
   
2. Infra-structure - Choose from the various work sheets, warm ups, and playing exercises off the web site. The basic progression of instruction offered in "Rhythm Masters" is Theory Page(s) / Tactile Drills / "Say" Drills / Play Drills / Power Grids / and Supplemental Exercises. All written and playing lessons fit into the 3 to 5 minute time frame and are designed for either individual or full ensemble study.
   
   
3. Assessment Tools - These are the "Power Grids" which also double as review exercises and as student evaluation tools. Directors can use these assessment tools after each individual chapter, or, after several chapters covering the same basic meter. Prior to each assessment, the director randomly selects a different exercise number on which to test each student is to test on. However, if combining several chapters, the director should allow the student to select which level on which he or she will be tested. The director can alter the grading scale as needed. For example, in the chapters covering Cut Time, skip chapter 11 and allow the student to choose from the following levels:

   Complexity Level	"Rhythm Masters" Chapter	Maximum Percentage Attainable
   Intermediate Advanced More Advanced	Chapter 12 Chapter 13 Chapter 14	90% 100% 110%

   If a student is a strong counter and confident with his or her comprehension of rhythms in these chapters, it might be a wise choice to select one of the more challenging levels (possibly for additional points). Those less confident can choose instead a more moderate difficulty level. Either way, the "Power Grids" are still an excellent tool to measure if the students rhythmic comprehension for that series of chapters, meets standards (70%), or actually attains "mastery" level (90% or higher).
   
   

4. "Say" pages - These pages can be a tremendous help for those that teach rhythms using a "phonetic" to "whole language" approach. Directors can use the "cumulative pictograph" approach in the "Rhythm Masters" books, or the blank "Say" pages that can be downloaded from the "R.M." web site. Here, the director can write in whatever analytical or phonetic counting system he or she wishes, and then use these sheets for class instruction.
   
   
5. "Tactile" Drills - "Tactile" Drills enhance the "phonetic" vocabulary taught and reinforce the concept of subdivision. These drills actively involve the student's body by incorporating a variety of motions, such as: foot tapping, hand clapping, finger touching, and even "alligator hands".
   
   
6. Cumulative Counting Approach - Up to this point, any counting system can easily be inserted into any of the above listed participation levels. If you find that a more traditional counting or "division" system holds your students back, or eventually breaks down in the teaching process, you may wish to experiment with a "cumulative" phonetic approach. If you are still not comfortable with the "pictograph" system introduced in the "Rhythm Masters" books, there is an excellent article on the "R.M." web site that suggests guidelines for developing your own successful cumulative counting system. Directors can then download blank theory and "Say" pages off the web site, and write in whatever new counting system they choose. In this way, you can incorporate as much of the "Rhythm Masters" infra-structure you wish, yet still use any counting approach you feel will best benefit your students. Based on my experience, I have found ANY! "cumulative" approach will out perform a "division" counting system every time. Remember, keep it simple, trim any "unneeded" fat, and always consider your counting system's strength as both a phonetic and analysis system.
   
   
7. "Pictographs" (Numbers, Dashes, or Dots) - Now you are full fledge into the "Rhythm Masters" approach. No Way Out!!! By starting with the basic concept of a time line, we incorporate pictures; "numbers" for pulse, "dashes" for subdivision level "A" ( 8th notes), and "dots" for subdivision level "B" (16th notes). We then "drop down the subdivision" creating a total of 8 different characters in duple and triple meters defining specific locations on each of the two time lines. These form a series of "pictographs" which phonetically help us figure out how each different rhythm will sound. Then, it is just a matter of working up the tempo. Through both phonetic and tactile reinforcement, the "pictographs" act as teaching aides, constantly reinforcing the concept of subdivision. The "pictographs" then drilled side by side with its noted counterpart written on the staff. After a short time, the phonetic concepts being rehearsed become part of your students' whole language rhythm vocabulary, and are recognized as sight rhythms. Once this level is achieved, your students can readily identify and perform any of the rhythms from the initially targeted vocabulary group. Then the students can move on to the next level or chapter. Even if your students slip and forget previously mastered rhythm(s), they can still once again refer back to their phonetic foundation. This allows them to repeat the previously learned process, allowing them to analyze, "sound out," and then reintroduce the forgotten rhythm(s) back into their vocabulary. Check out the "Rhythm Masters Anthology" section on the web site for a quick overview of the characters needed for counting analysis and the evolution of the "pictographs."
   
   
8. "Rhythm Masters" Supplemental Drills, Games, Song Reinforcers, Challenge Drills, Check Off Charts, etc... - Almost of all of these "perks" can be directly used, or easily adapted, with any counting system. All are excellent for additional review of counting concepts taught in class, and in some cases, are also just designed to "kick back" and have some fun with. Definitely check these out for something motivational and educationally constructive to do your classes after the Christmas or Spring Concerts.
   
   

I invite all music educators teaching students at any level, to feel free to download, copy, and experiment with any of the materials on the "Rhythm Masters" web site. I have found that using a cumulative rhythm approach accelerates the learning process, since it is far less cumbersome and awkward than a division counting system. This is especially true with our younger musicians, where it does not take that much for most to quickly reach their "processing limits." An advantage with "pictographs", is that there are no concerns about the complexity of rhythms, or if standard notation methods are being used. In every "traditional" approach, there is a point where its analytical function breaks down and the learning process comes to a halt. The only course left, then, is "whole language" learning, which is basically achieved through rote teaching. A "cumulative" approach is far more consistent (with a lot less "moving parts"), always phonetically relating the written analysis to the appropriate subdivision time line. It is the goal of the "Rhythm Masters" web site to aide and enable students to analyze and phonetically "sound out" through Grade VI level rhythms by the end of their 8th grade year. Once that is accomplished, it is simply a matter of waiting for our students' technical abilities and musical maturity catch up. Even if we only come close to this goal, imagine how much better prepared our students will be for the music literature that is waiting for them in high school and beyond. I am very interested in your feedback on any of the "Rhythm Masters" sections you may decide to experiment with, as well as your own experiences and research in any of these areas. This can presently be done through e-mail, and eventually, there will be a message board on the "Rhythm Masters" web site. I hope directors will use this opportunity and forum to further discussions involving a variety of teaching strategies, rhythm curriculum suggestions, and student assessment feedback. Thank you so much for your time and interest.