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Hello, following on from the Rhythmic Needs Analysis thread, here's what I came up with; a pack of cards with rhythms that can be combined to make phrases you can use for practicing reading, making up lines and so on.
Obviously if you want to have a go you'll need to print them out on card and giloutine them to size and I would be honoured if anyone went to those lengths haha. But they are quite fun to mess around with I think. Maybe easier to make your own with a pack of record cards and a sharpie.
I'm not product testing here, nor am I saying these cards are a big deal, it's just what I had to do - come up with a teaching resource. If anyone says 'man, don't bother with that just learn from the records' I'm not about to disagree lol. But they wouldn't mark me for that methinks.
Anyway here it is, with the relevant bit of my Rationale/Evaluation/Reflection thingy and some instructions for use:
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(Let me know if this link works)Last edited by christianm77; 04-25-2019 at 11:45 AM.
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04-25-2019 10:41 AM
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Brilliant idea, I love it.
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I like the idea because it really works for all ages. I still teach kids fact families through multiplication cards.
An idea to game-ify your cards:
1. Put on a metronome
2. Deal out two cards to each player (or four, if you want to start teaching phrasing)
3. The first person to sing or tap the rhythm correctly gets everyone else's cards
4. Repeat
5. The person with the most cards at the end of the game wins
I'm friends with a lot of music teachers. If you want to field test your idea with a wide range of students, let me know.
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ls the formatting for printing on A4 paper? What's the size of each card?
This looks like fun!
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Yes it is A4.
Originally Posted by lawson-stone
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Nice idea! Originally Posted by Irez87
I am well up for lots of people having a go if they think they might enjoy.
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A4 vs. US Letter.... almost like Mac vs. Windows! Originally Posted by christianm77
Gotta find me some A4 or see if it'll print okay on US Letter.
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Almost any printer will print to A4 size, and most will easily allow a "fit to page" option. This should be easy to do using business card stock, which is prepared for easy separation into cards. I haven't looked at the size posted, but it should be possible to adapt it to standard Avery business card stock, which would make everything much easier.
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For me its been happening at the drum kit. About 2 years ago I took up drums(studying on my own). The deeper I go into drumming the more effortlessly my time feel and swing have developed. And that's after years of playing guitar and more than enough technique. Originally Posted by christianm77
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Can we trade cards? I can already see I might need more of certain cards for some phrases !!!!!
Will
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Haha maybe! I like that idea. Originally Posted by WillMbCdn5
(The idea with these is that they would output phrases with the same rough statistical distribution of rhythmic cells as the music of Charlie Parker, so that’s not an even distribution - the 8th note cell is perhaps unsurprisingly by far the most common....)
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Nice idea. The one common thing I see missing within the language you are working is ties between cards/measures.
Perhaps that is just an alternative way to play a given card combination?
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sounds like a good Idea. almost like cutting out measures from different music scores and mixing them up.
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An excellent and engaging concept, Christian. Following on from Bako's comment, while I'm aware that presenting material in historical sequence can have its problems (both music learning and musical concepts themselves often seem non-linear), might it be useful initially to present syncopated rhythmic material via earlier styles, e.g the proto-jazz of Ragtime? Originally Posted by bako
Here are some of the most common syncopated or "ragged" rhythms found in Ragtime (the intro to Maple Leaf Rag is basically a combination of lines 4 and 2):
The order illustrated here reflects the hierarchy of primary beats counted in 8th notes (1-3-2-4) being obscured. I think of these as having the kind of 'fractal' quality associated with Russian nesting dolls - ties occur between whole, half and quarter sections respectively of each bar. Perhaps examples such as these with their simpler, streamlined construction could act as an entree into the more hollowed, distilled and fractured rhythms found in the music of Parker and his contemporaries.Last edited by PMB; 04-27-2019 at 01:09 AM.
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I believe Charlie Banacos used cards like this with his students... and if Charlie Banacos used it, you can pretty damn sure it's an excellent idea.
Props, Christian.
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Did he? Be interested to know more.... Originally Posted by Shadow of the Sun
Thanks!
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That’s cos that’s what it actually is :-) Originally Posted by JaxJaxon
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The dissertation that Lefteris Kordis did on Banacos' methods mentions it - I don't have any more info than what's in the quote below. Originally Posted by christianm77
Rhythm cards
This is another exercise for rhythmic sight-reading improvement. In one
example of this exercise, one creates flash cards, each one consisting of one quarter-note
rhythmic value (one quarter-note, two eighth-notes, three eighth-note triplets, four
sixteenth-notes, and so forth), shuffles them, lays them out horizontally and sight-reads
them.
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I had a music teacher who came up with a...rubric? I think that's what it's called, for rhythms. Some famous composer used one for tones to add randomness. My other teacher, who is a really legit composer, was wild about the idea.
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Rag time...
interesting , 3 is aguare in Ketu , 4 is 3 turned around and depending on the accent , 1 or 2 could fall into opanije or ilu.
ragtime is loaded with Ketu codes. In rag, it could change section to section , like how they form sections in rock music.
ketu was codified in the early 1800's , ragtime came in the late 1800's. Ketu has preserved grooves touching back to where the people were brought in slavery. In Black American culture , these codes seems to spill out mis mashed , but not codified. But , it's the same source.
doesnt it make sense to include a Yoruba word as a description of the cadence along with the euro written notes? If people associate a groove with those written notes, it will come alive in their head what the actual intention is.
i think we need to know the organic roots of these cadences in jazz. To see the notes and recognize the African origin puts you in touch with the feeling , the soul of what is going on , where the paper is cold technical
jazz is feeling, groove , soul and Afro diaspórica concepts with European harmony , tuning , any written music on five line staff, and somewhere in there is American indigenous influence , even if subtitle.
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Nice tool and practice ideas Christian!
Lots of fun to practice improvising using rhythms like these.
Here's an example of me practicing Rhythm 7 from Bergonzi Book Volume 3.
Playing in every bar in first chorus and then resting in every other bar in chorus 2 and 3.
Backing Track FBlues Aebersold Vol 42 Blues in all keys
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That's great... I'll take a look at the Bergonzi book. A little embarrassed that I wasn't aware of it. Originally Posted by hohoho
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I think the purpose is great: Originally Posted by christianm77
"The resource is for one-on-one jazz students who already possess a firm command of their instrument and theory, but have difficulty coming up with purposeful improvised lines with a clear sense of phrasing and pulse."
I appreciate that this is not an easy task and that your system has potential. Training sight memory of note time values is a nice spin-off.
A student with a "firm command" of the instrument, may also benefit from dynamic articulation (accents, long/short, legato etc) as a dimension of rhythm.
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Yeah I done the exercise now lol Originally Posted by JCat
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By which I mean I’m waiting for marking.
If I do end up using these cards in my teaching which I may end up doing I might consider these modifications.... problem is that accentuation and articulation also varies with pitch. For instance in bop you tend to accent the upper notes.
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