Does anyone have a tried and true method to teach slow quarter note triplets? I have tried several ways. This is one thing that I still have trouble getting across to my students.
In Nashville, we just play eighth quarter eighth; but really, for the visual learners and math geeks, show them how it relates to 2 beats of eighth triplets; play/clap/sing 2 beats of eighths, then have part of a group play that while the other group plays/claps/sings the quarter triplet rhythm. And then after all of that, they'll nod, look at you...and play eighth quarter eighth.
I do something similar to Cindy - add a syllable to "triplet" making the word tri-puh-let and have them say it over two beats, working to make each syllable feel "equal". I emphasize placing the "tri" syllable where a half note would begin.
Relate the quarter-note triplet to eighth-note triplets or eighth-note triplet to sixteenth note triplets; anotherwords, superimpose the quarter-note triplet over or under the eighth-note triplets/sixtuplet. Please DO NOT use the "one-an-da" counting for any triplet, as this is very confusing to the student because he/she is thinking in subdivided duples, not thirds. The idea of using three syllable words for a feeling of the triplet is fine, but in a rhythmic passage it does NOT convey where the notated triplet falls, mathematically speaking, in relation to duple rhythms; consequently, a suggested counting and marking system for any triplet rhythm would be to eliminate the use of the word "and" as well as the abtract symbol plus-sign(+). Instead use the abstract symbol(-) over the note values, and say dah. For a measure of sixteenth-note triplets in the time-signature of 4/4, place the counting/marking over the note values...1--,+--,2--,+--,3--,+--, 4--,+-- and say: 1 dah dah, and dah dah, 2 dah dah, and dah dah, 3 dah dah, and dah dah, 4 dah dah, and dah dah. It's a system I've successfully have used with students for 59-years of teaching, and one I learned from a method by Fred Albright; I believe that Ed Gordon has one that is similar.
Young people today learn fractions at the 3rd/4th grade level, whereas fractions were taught later, years ago; consequently, it's easy to start beginning instrumental students with a counting and marking system based upon the 4/4 time signature, in which they learn that the top # tells them how many of the bottom # are in a measure (or its mathematical equivalent), and that the bottom # tells them what kind of note valuation gets one count, NOT one beat. Once this is established, and related to a normal ruler/yardstick, they soon become mathematically aware of what time signatures mean. They also find out, that the ruler is not divided into thirds, and consequently need to learn how to think, count and play three in the left-hand against two in the right-hand or vice-versa. JS
Keep it simple..sing it to them, clap it and have them replicate your pattern. Repeat if necessary. If they don't get it after three times, send them to the choir program.
Blair, I try having them say "ham-bur-ger" or "Mich-i-gan," over 2 beats.
ReplyDeleteCindy
In Nashville, we just play eighth quarter eighth; but really, for the visual learners and math geeks, show them how it relates to 2 beats of eighth triplets; play/clap/sing 2 beats of eighths, then have part of a group play that while the other group plays/claps/sings the quarter triplet rhythm. And then after all of that, they'll nod, look at you...and play eighth quarter eighth.
ReplyDeleteI do something similar to Cindy - add a syllable to "triplet" making the word tri-puh-let and have them say it over two beats, working to make each syllable feel "equal". I emphasize placing the "tri" syllable where a half note would begin.
ReplyDeleteRelate the quarter-note triplet to eighth-note triplets or eighth-note triplet to sixteenth note triplets; anotherwords, superimpose the quarter-note triplet over or under the eighth-note triplets/sixtuplet. Please DO NOT use the "one-an-da" counting for any triplet, as this is very confusing to the student because he/she is thinking in subdivided duples, not thirds. The idea of using three syllable words for a feeling of the triplet is fine, but in a rhythmic passage it does NOT convey where the notated triplet falls, mathematically speaking, in relation to duple rhythms; consequently, a suggested counting and marking system for any triplet rhythm would be to eliminate the use of the word "and" as well as the abtract symbol plus-sign(+). Instead use the abstract symbol(-)
ReplyDeleteover the note values, and say dah. For a measure of sixteenth-note triplets in the time-signature of 4/4, place the counting/marking over the note values...1--,+--,2--,+--,3--,+--, 4--,+-- and say: 1 dah dah, and dah dah, 2 dah dah, and dah dah, 3 dah dah, and dah dah, 4 dah dah, and dah dah. It's a system I've successfully have used with students for 59-years of teaching, and one I learned from a method by Fred Albright; I believe that Ed Gordon has one that is similar.
Young people today learn fractions at the 3rd/4th grade level, whereas fractions were taught later, years ago; consequently, it's easy to start beginning instrumental students with a counting and marking system based upon the 4/4 time signature, in which they learn that the top # tells them how many of the bottom # are in a measure (or its mathematical equivalent), and that the bottom # tells them what kind of note valuation gets one count, NOT one beat. Once this is established, and related to a normal ruler/yardstick, they soon become mathematically aware of what time signatures mean. They also find out, that the ruler is not divided into thirds, and consequently need to learn how to think, count and play three in the left-hand against two in the right-hand or vice-versa. JS
ReplyDeleteKeep it simple..sing it to them, clap it and have them replicate your pattern. Repeat if necessary. If they don't get it after three times, send them to the choir program.
ReplyDelete