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    © Valeri Brainin, 2006 Rhythmic Patterns and Rhythmic Solmization

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    Александр Ивашкин
    The document presents a method of rhythmic solmization that assigns syllables to accent positions within a phrase or beat rather than note durations. It suggests using fewer than five syllables to denote the strongest position within a phrase, strongest position within a beat, weakest position within a beat, and other weak positions. This approach aims to help teach accent-based rhythms found in academic and folk music.

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    © Valeri Brainin, 2006 Rhythmic Patterns and Rhythmic Solmization

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    Александр Ивашкин
    87 views7 pages
    The document presents a method of rhythmic solmization that assigns syllables to accent positions within a phrase or beat rather than note durations. It suggests using fewer than five syllables to denote the strongest position within a phrase, strongest position within a beat, weakest position within a beat, and other weak positions. This approach aims to help teach accent-based rhythms found in academic and folk music.

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    Rhythmic Patterns

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    Rhythmic Patterns

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    The document presents a method of rhythmic solmization that assigns syllables to accent positions within a phrase or beat rather than note durations. It suggests using fewer than five syllables to denote the strongest position within a phrase, strongest position within a beat, weakest position within a beat, and other weak positions. This approach aims to help teach accent-based rhythms found in academic and folk music.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    87 views7 pages

    © Valeri Brainin, 2006 Rhythmic Patterns and Rhythmic Solmization

    Uploaded by

    Александр Ивашкин
    The document presents a method of rhythmic solmization that assigns syllables to accent positions within a phrase or beat rather than note durations. It suggests using fewer than five syllables to denote the strongest position within a phrase, strongest position within a beat, weakest position within a beat, and other weak positions. This approach aims to help teach accent-based rhythms found in academic and folk music.

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    Abstracts: International Society for Music Education 27th World Conference,

    Kuala Lumpur, 2006


    Poster session
    Valeri Brainin, 2006
    Rhythmic Patterns and Rhythmic Solmization
    Keywords: Ear Training, Rhythmics, Early childhood, Teacher Training, Professional
    Music Training.
    The poster presents tables with typical rhythmic patterns to get articulation reflexes for
    simple and complicated rhythmic figures. The idea of rhythmic solmization (the use of
    articulated syllables) suggested on the poster is to give names not for durations of the
    notes, but for positions within accent groundwork. This means that the same durations
    can have different names and the same names can denote different durations. This idea
    seems to be more complicated than the usual practice of rhythmic solmization using the
    same names for the same durations. However, for the accent rhythms that are typical in
    academic music, as well as in certain types of folk music, the denotatum is not any
    duration of the tone, but a strong or weak position of the tone.
    The correct teaching method has to use signs, which correspond to the most meaningful
    items. The duration of the tone is important, but is not a most meaningful item in the
    accent rhythmic. Similar methods took place in the history of music pedagogy already.
    The disadvantage of these methods is that they had too many signs for too many
    denotatums. They were: strong and weak positions within a beat as well as within a bar.
    Having binary and ternary rhythms, as well as various kinds of bars, can result in a large
    number of signs, which makes it difficult to receive stable articulation reflexes. The
    second disadvantage was to devoid a very important denotatum, namely the strong
    position within a phrase.
    The author of the suggested methods uses less than five syllables for following
    denotatums:
    1) strong position within a phrase
    2) strong position within a beat
    3) weak position within a beat
    4) the weakest position within a beat.
    These four denotatums, as well as corresponding syllables are necessary and sufficient
    to articulate a lot of rhythms, used in various kinds of musical languages.
    The poster demonstrates a clear and compact classification of all the rhythmic figures
    for binary (128 figures) and ternary (2048 figures) rhythms in a bar of 2/4.
    1

    Valeri Brainin, 1974

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