Two Helpful Techniques To Help Young Musicians Become Better Sight Readers
One of the aides I have used in the "No Fear" rhythm clinics are the "C.R.E.S.C." assessment tools. I use these, when I can, as pre-tests and post-tests which allow me to monitor student improvement and compile statistical data. In situations where a student or students, do exceptionally well in the pre-test, I try my best to contact the director(s) and ask them about the particular approach they use to teaching rhythms. After talking with these music educators, I have found, in most all cases, one or both of the reasons discussed below are mentioned.
Implementation of a Consistent Rhythm Curriculum - Many programs attempt to expand rhythm vocabulary through reading additional concert literature. This approach certainly cannot hurt your ensemble's reading ability, however, two draw backs do exist. First, in addition to reinforcing the correct performance of rhythmic patterns already learned, it may also reinforce the incorrect performance of rhythms your students are not as familiar with. This may possibly create an unwanted "two steps forward and one step back" scenario. The other disadvantage in using full concert literature materials to enhance rhythm reading skills, is that there will be big gaps between the sections of music that will best help students expand their "whole language" rhythm vocabulary. It is more effective for directors can find a way to target select "rhythmic pitfalls", making more efficient use of, what is normally, limited available instructional time.
I have also found that the length of the class time spent on rhythm vocabulary expansion is not nearly as important as the consistency of its implementation. Even just a few minutes per class can be used very effectively, combining such exercises as: warm-ups, review materials, and a set curriculum of incrementally introducing new rhythmic patterns. In some cases the implementation of such a comprehensive curriculum, or developing a "phonetic" based approach to sounding out rhythms, can potentially eliminate the need of "notation," rendering its use irrelevant.
Establishing good habits and strategies in sight reading preparation early will not only help the overall reading ability of your schools' ensemble(s), but will also help your students individually get over the "fear" of the sight reading. Helping young musicians develop a plan and then teaching them how to work that plan relieves a lot of the apprehension and nervousness that initially comes with the sight-reading portion of any chair placement or honor band audition. There is a lot of published material out there that is just great for this purpose. Larry Mclure has written a fantastic series of sight reading etudes for all instruments, perfect for helping individual students evolve gradually through many different levels of difficulty. Along these same lines, I have put together a similar series of "Audition Sight Reading" etudes, except these are designed to be used as full ensemble instructional materials. The "A.S.R." series even begins with a section specifically designed for beginning instrumental students, initially utilizing a very limited range of notes, which allows the young musician to focus strictly on counting concepts. These initial etudes' coordinate with the first several chapters of "Rhythm Masters" Book I, but also create great supplemental material that can be used along with any present band method. As part of an article on my web sight, a very effective "plan of attack" for sight-reading preparation is documented. Many directors have been using this approach for years, but if you would be interested, you can find this "strategy check list" at the end of the article entitled "9 Reasons Why Rhythm Errors Occur", found in the "Bandworld" archives or on my web site.
Teaching Multiple Counting Systems - Before doing the "No Fear" rhythm camps and clinics, I was a firm believer that consistency was the most important element in solidifying a student's ability to count. I even created the cumulative "phonetic" approach used in the "Rhythm Masters" curriculum specifically to eliminate "contradictions" or "re-definitions" that might occur when new rhythms are introduced to young musicians. Although this consistency is crucial within any given approach to counting, I have learned what several of the band directors interviewed already knew; that one of the most effective strategies to attack complex, unfamiliar rhythms, is to teach your students to use several different counting approaches.
This concept works at several levels. First, it actually helps clarify and clearly define the differences and advantages comparing one counting system to another. Actually, the more contrasting the different styles taught are, the better. I personally like comparing and contrasting the traditional "division" approach with a "cumulative" counting system which emphasizes the use of rhythm "phonics" and mathematical time lines. Second, in the other academic areas it is preached to us that in order to improve students' test scores, we must constantly accommodate for different learning styles and rates. Teaching rhythmic patterns or counting is no different, and a "one size" or "one system" fits all approach, is just not practical. If you have not yet experimented with "multi-level tasking" and multiple counting systems, you really should. I believe you'll be truly impressed with the results.
As always, feel free to help yourself to any of the materials on my web site that you might find beneficial to your program. This includes all of the "Audition Sight Reading" materials or the full, or any portion of the "Rhythm Masters" curriculum. In addition, the "Rhythm Masters" series also offers music educators the flexibility of either using its cumulative "phonetic" counting approach or allows you to write your own counting system and insert it into the books present infra-structure. I now have over 4000 .pdf files on my site, including: warm ups, rhythm review exercises, sight reading etudes, and assessment tools. All these materials, are transposed for the full range of wind and string instruments, and are ready to just printout and use. Most all of the etudes and exercises are in the three to five minute performance range, minimizing the class time utilized, yet maximizing your instructional efficiency and effectiveness. Another rhythm curriculum series I have just finished working on are "Check Patterns" for the wind-percussionist. This approach is not as extensive and does not cover the full range of "duple" rhythms, but it covers the large majority of patterns your students might run across, needing only two to three minutes of instructional time. If you get a chance, feel free to check any or all these materials out, and see what you think? For further information you can contact me through any one of the ways listed below. Best of luck this upcoming new year.