This is a Presentation I did during my Master\'s program at Eastern Kentucky University. Enjoy and I hope it is educational.

1. Rhythmic Reading and
Rhythmic solmization
Presented by
Mr. Kerry Kennard
1

2. Overview
 Explain how all the individual topics fit
together
Rhythm Listening /
hearing
Sight-
Singing
2

3. Vocabulary
Terms as used in this subject:
 „Ta,‟ „Te,‟ Quarter , Eighth, and
Sixteenth, note values. Also, rest values of
the same value.
3

4. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 1
, © 1986
 Preface
 Skill in sight singing is
dependent upon the ability
to perform both rhythmic
and melodic patterns. For
this reason, the melodies
in this volume are graded
according to both rhythmic
and melodic difficulty.
Each chapter introduces a
new problem in relation to4
one or the other factor,

5. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 1 ,
© 1986
 Rhythmic Reading (in
Chapter 1)
 Rhythmic reading is best
accomplished through the
use of rhythmic syllables,
as shown in the measures
of the following example.
5

6. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 1 ,
© 1986
 A) Each note value
occurring on the beat is
read with the number of
that beat (measure 1)
B) For a note value longer than one beat, hold the
number spoken for the duration of the note value (next
measures)
6

7. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 1 ,
© 1986
 C) Note values shorter
than the beat (appearing
other than on the beat)
may be read with the
syllable “ta”, or as “te” in
measure three (3).
D) A rest indicates silence. Make no sound (last measure).
7

8. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 1
, © 1986
Section 1: The Quarter note as the beat unit;
undotted note values.
Section 2: Dotted note values; tied notes.
Section 3: The half note and the eighth note as beat units
Examples from the book - we‟ll try a few in class
(Pg. 2-5) examples 1-29
8

9. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 3 ,
 © 1986
Compound time (meter) - the beat and its division into three
parts
 In compound time, the beat is
divisible into three equal parts and
therefore is represented by a dotted
note value. In 6/8, for example, the
dotted quarter note representing the
beat is divisible into three eighth
notes. In this chapter, the note
valued representing the compound
division of the beat will be the
shortest note value used.
 Rhythmic Reading
 Procedures for rhythmic reading in compound time are similar
to those in simple time (recently studied). The triple division
9
of the beat may be read with the syllable “ta” (one ta ta) or

10. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 3
, © 1986
Section 1 - The dotted quarter note as the beat unit.
10

11. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 3
, © 1986
Section 2 - The dotted half note and the doted
eighth note as beat units.
These rhythms will play and sound exactly alike, even though
both are in different time signatures.
11

12. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 8, ©

1986
Rhythm -the subdivision of the
beat: the simple beat into
four parts; the compound beat
into six parts.
 Rhythmic Reading - Simple Time
In Simple time, the beat may be subdivided in four parts - for
example and so forth.
 All note values shorter than the beat may be read using the
syllable “ta.”
12

13. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 8, ©
Rhythm -the 1986
subdivision of the
beat: the simple beat into
four parts; the compound beat
into six parts.
 When using the syllable “te” for the divided beat, note values
shorter than “te” are read using “ta.”
 Read each line, repeating without interrupting the tempo, until
it is mastered. Continue in a like manner with the following
line. When lines are completed, skip from one line to any
other line, as directed or as chosen, without interrupting the
tempo. 13
 Lets try a couple of exercises ( pgs 110-111 or 414-428)!

14. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter
 13, © 1986
Syncopation in beat-note and
divided beat patterns
Syncopation occurs when the normal or expected pattern of
meter or accent is deliberately upset. Syncopation can be created by:
1. Accenting a weak beat or a weak part of a beat:
2. Tying a weak beat into the next strong beat:
3.tying the weak beat part of a beat into the next beat:
14

15. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter
 13, © 1986
Syncopation in beat-note and
divided beat patterns
Sight Singing, Diatonic Melodies
1. Simple time (section 4)
2. Compound time (section 5)
(Let‟s try some examples (pg 200)
15

16. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter
17, © 1986
Rhythm :Changing time
signatures; less common
time signatures; the
hemiola
 Rhythmic Reading
 Section 1. Definitions and reading exercises
 A) Variable meters. The time signature is changed as needed throughout
the composition.
 More examples in handout; 947-950 16

17. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 17,
© 1986
Rhythm :Changing time
signatures; less common time
signatures; the hemiola
 Rhythmic Reading
 Section 1. Definitions and reading exercises
 B) Alternating meters with double or triple time signatures.
A double time signature, such as 2/4, 3/4 usually indicates regular alternation
of the two signatures ( 2/4 3/4 or 3/4 2/4 etc.) or some other regular pattern (2/4
3/4 3/4 2/4 3/4 3/4 etc.). See melodies 947 and 957
 C) Meters of 5 and 7 (Quintuple Simple and Septuple Simple Meters). There
time signatures usually replace an alternating meter: 5/4 = 3/4 2/4 or 2/4 3/4.
7/8 = 4/8 3/8 or 3/8 4/8. For an example of quintuple compound meter, we
will look at 961, written in the alternating meters of 9/8 and 6/8. By combining
each pair of nine and six-beat measures, a signature of 15/8 cold have been
used. 17
 Let‟s check out these examples (947-961)

18. Ottman, Robert, Music
for Sight Singing, 3rd
Edition, Chapter 17,
How did book 1986
© approach/teach
topic?
 Ottman broke up different
rhythmic topics in different
chapters. The approach is an
increase in difficulty of
rhythms. What we covered went
from quarter notes, 16th
notes, and different time
signatures within measures.
 My opinions / justify my
position
18
 I find it healthy to increase

19. Linton, Stanley,
Music Fundamentals
and functional

skills, © 1984
Reading Patterns
 Learning to read and perform rhythm can be facilitated by ways of
practice enabling you to physically keep the beat and speak (vocalize)
patterns. We use a system in which you clap tempo beats and speak
patterns with either rhythm syllables or counts.
 Reading rhythm patterns alone can be done by speaking their sounds
with either a syllable system or the traditional counting system. You
should practice both ways, for while syllables provide an easy, accurate
approach to building correct responses to basic discrete patterns, counts
establish an awareness where patterns fall within the measure. Of the
two systems, syllables possess a more vocal and musical quality.
Learn the syllables and counts for beat durations and combined
durations (two-beat and four-beat).
19

20. Linton, Stanley, Musi
c Fundamentals and
functional skills, ©
1984
 Reading Patterns (continued)
 Beat Patterns and Combined Patterns
 Apply the following procedures for reading notated rhythm exercises that include
beat durations and combined durations in 2/3, 3/4, and 4/4. You should realize
observance of the exact duration of a notated silence (rest) is as important as
speaking sounds correctly, and you must keep your beat steady through rests.
 1) Start your beat - clapping at the indicated tempo - fast, moderate, or slow -
during the introductory measure.
 2) Continue clapping the tempo beat while you read the patterns of duration with
„rhythm syllables.‟
 3) Repeat the entire exercise with rhythm counts
 4) Extract and practice any measures presenting a problem.
 5) Continue practicing until the beats and patterns are accurate, physically
coordinated, and comfortable.
20

21. Linton, Stanley, Musi
c Fundamentals and
functional skills, ©
1984
 Reading Patterns (continued - Examples)
 1. Moderate
 2. Fast
21

22. Linton, Stanley,
Music Fundamentals
and functional

skills, © 1984
Divided Patterns
 A divided pattern in simple meter is a duple division that splits the beat duration
into two equal parts. When a quarter note is divided, it represents an 8th note or
rest. You also should learn rhythm syllables (ti-ti, spoken tee-tee) and counts (1 &,
spoken “one and” or an) applied to a divided pattern of two sounds. Continue to
exercises containing divided patterns (8th notes) and read each exercise by
speaking its patterns with rhythm syllables or counts while clapping tempo
beats.
22

23. Linton, Stanley,
Music Fundamentals
and functional
 Reading Melodic Rhythm (putting it all together) 1984
skills, ©
 Melodic rhythm is the overall durational component of a melody and is comprised
of its various patterns of duration. Sight reading rhythm in the next melodic phrases
can be done rather easily by following these procedures:
 1) Identify the meter signature, meter, and beat unit (quarter note).
 2) Determine the appropreiate tempo - fast moderate, or slow.
 3) Make a visual overview of the notated melody and identify familiar patterns.
 4) Establish and maintain your tempo beat by clapping it, and read the melodic
rhythm with rhythmsyllables or counts.
 5) Sing or play the melodic phrases in accurage rhythm.
 (page 39 in your handout)
23

24. Linton, Stanley, Musi
c Fundamentals and
functional skills, ©
1984
How did book approach/teach
topic?
 As I mentioned before in other
reports, Linton‟s target
audience is for college non-
major students. The information
is straight forward and begins
in chapter one. The Ta‟s and
Ti‟s are similar to the
syllables used in Ottman. The
explanations how to do it are
very clear and helpful to the
beginning student.
 My opinions / justify my position
 I like the book, but prefer the
Ottman text over this.
24
Although, what we are going to

25. Haskell Harr, Drum
Method
(for band and Orchestra)Hal
Leonard Publishing
To play the eighth notes in the following exercises, divide the
beat
By adding the word “AND” after each number, thus:
I am adding this because I feel this solmaztion works the best
counting rhythms. For 8th notes, say the following:
“1 & 2 &,” etc.
For 16th notes say:
“1 e and da.” not “ah”. It adds a shorter sound and you
can say it faster than “ah.”
25

26. Haskell Harr, Drum
Method
(for band and Orchestra)Hal
Leonard Publishing
These rhythms and syllables should be applied to rhythmic
reading during sight singing exercises.
Look at some examples: Pages 14 -15 & 23 - 24
26

27. Summary
Rogers, Michael, R., Teaching
Approaches in Music Theory
Rhythmic study is a topic that should be mastered intellectually.
Understanding rhythm and meter is essential for any
musician. Other important aspects include: beat, pulse, strong vs.
weak beats, basic duration and tempo - most important for
rhythmic ear training.
One of the best devices for teaching rhythmic ear training
is subdivision.
Simplification methods (similar to reduction technique in
pitch analysis) for rhythm are very effective. Subdivision
benefits are most fully realized in rhythmic syllables (e.g., “one-
ee and-a, two-ee-and-a, etc.). Such systems superimpose a steady
stream of mini-beats - a meter within a meter - onto actual
durations themselves. Working with a metronome is beneficial
for many - but a distraction for others. 27

28. Where to Get More Information
 Outside book source: “Rhythmic Reading for
All Instruments,” by Dirk Rosenbaum
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