Week 3. March 23rd (2023)

Didactics of Musical Education
Week 3. March 23rd

Musical Rhythm and its Didactics
March 23rd
Didactics of Musical Education
Andrea González García

Dra. Victoria E Lamas Álvarez
Music Education Didactics 3
Where can we
find rhythms?
2’

Overview
1. Pulse & Tempo

2. Rhythmic System
3. Music Notation
4. Didactic Applications

Objectives
ü To know the basic elements of musical language used for the representation of
rhythm: pulse, time signature, figures and rests, slurs, dotted notes, dotted chords,
special valuation groups, syncopation, time signature and tempo or movement
indications.
ü To properly interpret the rhythmic elements in simple scores and use them to
create new ones.
ü To be familiar with the types of beginnings and endings of musical pieces and
phrases according to their rhythm.
ü To apply didactic strategies for teaching and learning rhythmic content in the
classroom.

1. Pulse & Tempo
1.1. Bar & Measure

1.2. Subdivisions
1.3. Time Signature

1. Pulse & Tempo
To understand how we measure rhythm in music we first need to talk about…
PULSE
To find the pulse of a musical piece try to move your hands or feet
according to its beat or rhythm.

1. Pulse & Tempo
We will rock you. Queen https://bit.ly/3JAuFzG

1. 1. Pulse
Pulse & Tempo Lydian mode!
The Simpsons. Theme song https://bit.ly/3TuSgX0

1. Pulse & Tempo
Lux Aeterna. György Ligeti https://bit.ly/3YZZDHb

1. Pulse & Tempo
PULSE
The pulse is the heartbeat of the musical piece.
It is measured in a similar way to an actual heartbeat – beats per minute (BPM)
= 60 beats per minute = 1 beat per second

Double
(faster!)
= 120 beats per minute = 2 beats per second

1. Pulse & Tempo
BEAT
The basic rhythmic unit of a measure.
The repeated note value of the time signature.
Bar line
Time signature Measure

1. Pulse & Tempo
TEMPO
Metronome The pulse’s speed
Numbers Words (usually in Italian)
General idea of the

tempo the musical piece
has.

1. Pulse & Tempo
§ Grave: very slow. http://bit.ly/3TB6bLd
§ Largo / Lento: slow. http://bit.ly/3TwAaUN
§ Adagio: slow, but comfortable. http://bit.ly/3naUajH
§ Andante: slow, walking. http://bit.ly/3Z80Yvu
§ Moderato: moderate tempo, neither fast nor slow.

§ Allegro: fast, lively. http://bit.ly/406QMVD (allegro moderato)
§ Vivace: lively, hurried. http://bit.ly/3Z7HXtn
§ Presto: very fast. https://bit.ly/3FHw6et

1. Pulse & Tempo
§ Affectuoso: affectionate.
§ Agitato: agitated.
§ Cantabile: singable.
§ Con moto: with movement.
§ Grazioso: funny.
§ Risoluto: determined.
§ Scherzando: playful.

1. Pulse & Tempo
§ Accelerando or Animando (accelerating)

§ Stringing (tightening)
§ Calando (dropping little by little)
§ Morendo (dying)
§ Ritardando (slowing down)
§ Piú lento (slower)
Accelerando (example)
N. Rimsky-Korsakov - Capriccio Espagnol
Minute: 13:30-end
https://www.youtube.com/watch?v=RY2Bt0TppKw

1. Pulse & Tempo
When making music we create…
PATTERNS
...with these pulses.
1 2 1 2 1 2 http://bit.ly/3TzVZTw
1 2 3 1 2 3 http://bit.ly/3LFhLmS
1 2 3 4 1 2 3 4 http://bit.ly/406yYtG

1. Pulse & Tempo
1.1. Bar & Measure
1 2 1 2 1 2
1 2 3 1 2 3
1 2 3 4 1 2 3 4
Each of these groups is a… BAR or MEASURE

1. Pulse & Tempo
1.1. Bar & Measure
BAR or MEASURE
§ A single unit of time containing a specific number of beats played at a particular tempo.
§ Bars are designated by vertical bar lines that run perpendicular to the staff, indicating the
beginning and the end of the bar.

1. Pulse & Tempo
1.2. Subdivisions
Each pulse can be subdivided in…
2
1 2 3 4 1 2 3 4
http://bit.ly/406yYtG

1. Pulse & Tempo
1.2. Subdivisions
Or it can be subdivided in…
3
1 2 1 2 1 2 1 2
http://bit.ly/406yYtG

1. Pulse & Tempo
This provides us with a lot of
different rhythms!
1.1. Subdivisions
When it is a binary subdivision (2 parts) – if it has 2 beats:
1 2 1 2 1 2 =
1 2 3 1 2 3 =

1. Pulse & Tempo
1.2. Subdivisions
1 2 3 4 1 2 3 4 =
Number of beats in a bar.
What kind of beats they are.

1. Pulse & Tempo
1.3. Time Signature
crotchet

1. Pulse & Tempo
NOTE
1.3. Time Signature
The semibreve is the
?
rhythmical figure with
the longest duration
= 4 (at least nowadays)
crotchet
=
crotchet crotchet crotchet crotchet semibreve

Questions
?
2. Rhythmic System
2.1. Parts of a note

2.2. The System
2.3. More time signatures
2.4. Additional values & rhythms

2. Rhythmic System
2.1. Parts of a note

2. Rhythmic System
2.2. The System
whole note 1 semibreve
half note 1/2 minum
quarter note 1/4 crotchet
1/8 quaver
eighth note
sixteenth note 1/16 semi-quaver

2. Rhythmic System
2.2. The System
whole note rest semibreve rest
half note rest minum rest
quarter note rest crotchet rest
eighth note rest quaver rest
sixteenth note rest semi-quaver rest

2. Rhythmic System
2.3. More time signatures
…there are many other time signatures (less common)

2. Rhythmic System
3
When it is a ternary subdivision (3 parts) – if it has 2 beats:
1 2

1 2 3

= 1 2 3 4

4. Figures
How can we find out

the time signature of
a song?

https://www.youtube.com/watch?v=faBivRMi2LY
Challenge! 4. Figures
1. Find the pulse

3
2. Find the stress beat (accent)
4
3. Find the subdivision
Ostinato
A continually repeated musical phrase or rhythm.
https://bit.ly/3JXGVMh

4. Figures
2. Rhythmic System
Signs of extension
Ligature Dotted note Fermata
1+1
Adds half the value of the previous note.

4. Figures
2. Rhythmic System A tempo beat
Syncopation
Special rhythms Back-beat
Syncopation
The practice of displacing the beats or accents in music or a rhythm so that strong beats
become weak and vice versa.
Back-beat
A strong accent on one of the normally unaccented beats of the bar, used especially in jazz
and popular music.
Example syncopation Example back-beat
https://bit.ly/3LGIZcE https://bit.ly/3n2nRDm

Let’s practice!

Let’s practice!

Let’s practice!

Let’s practice!

Let’s practice!

Rhythm is so powerful that it is possible to make music without notes!
Just rhythm!
https://bit.ly/3Z8eb7y

A different way to visualize rhythm
https://bit.ly/408EvQz

Questions
?
3. Music Notation
3.1. Staff
3.2. Clefs
3.3. Notes
3.4. Accidental Notes

3. Music Notation
3.1. Staff
§ It is a set of five horizontal and parallel lines and four spaces on which the notes are
arranged.
§ Notes may exceed the staff, in which case ledger lines must be used.
§ The staff appeared in the 15th century (although Guido of Arezzo had already introduced
the tetragram in the 11th century)
§ It became widespread throughout Europe ever since the end of the 16th century.

3. Music Notation
3.2. Clefs
§ These are signs that are placed at the beginning of the staff and determine the
name of the notes.
Treble clef Bass clef Alto clef

3. Music Notation
3.3. Notes
§ They represent musical sounds.

§ There are seven of them and can be found in different octaves, lower or higher.
C D E F G A B C

3. Music Notation
3.3. Notes
§ Depending on the clef notes will be read differently.

3. Music Notation
3.3. Notes
§ Depending on the clef notes will be read differently.

Questions
?
4.1. Rhythmic Ostinato

4.2. Improvisation of rhythms in question-answer form
4.3. Dissociation of rhythmic phrases
4.4. Use of rhythm cards
4.5. Accompaniment of songs with body instruments and small percussion instruments
4.6. Complete measures
4.7. Rhythmic identification and creation from proverbs, riddles and sayings
4.8. Moving around or performing movements in association with different rhythms
4.9. Songs accompanied by gestures or movements
4.10. Performance of dances

4.1. Rhythmic Ostinato
It is the regular and insistent repetition of a certain rhythm and is used to

accompany other rhythms or a melody.
https://www.youtube.com/watch?v=E9PiL5icwic
This is also what we do when we accompany a song or a hearing by clapping our hands while
beating the pulse.

4.2. Improvisation of rhythms in question-answer form
A student claps the following rhythmic motif:
?
And another responds to it in the form of a response by striking another rhythm that is coherent
with it, i.e. lasting the same number of bars, with the same tempo and with similar figures:

4.3. Dissociation of rhythmic phrases
§ This task develops concentration and synchronisation.

§ Students are presented with a written phrase or rhythmic pattern.
§ They will be asked to perform it sequentially.
§ Each student or group has to perform, a couple of bars at the exact moment
when it is their turn, so as not to break the musical flow.

4.4. Use of rhythm cards
§ Cards with small rhythmic fragments will be handed out to students.

§ These will be randomly played by the teacher or a student, while the class tries to
find out which one it is.
§ A very motivating variant for the students is the creation of a "rhythmic bingo”.
§ The teacher or a student plays different rhythms.
§ The class will need to recognise it on their card.

4.5. Accompaniment of songs with body instruments and small percussion instruments
§ Accompanying singing or listening to music with different body instruments

(whistles, percussion of the hands on the thighs, tapping of the feet on the floor…)
and with small percussion instruments (triangles, rattles, claves, tambourines,
rattles, maracas…).

4.6. Complete measures
Two options:
1. Letting everyone fill in the incomplete measures with the figures of their choice.
2. Giving them specific figures in advance and asking them to combine them in
different ways to complete several measures.

4.7. Rhythmic identification and creation from proverbs, riddles and sayings
§ Students will be asked to write the rhythm of different sayings, riddles

or proverbs, according to the teacher's interpretation.
§ They will then create new lyrics for this rhythm, making sure that the
linguistic accents match the musical accents.

4.8. Moving around or performing movements in association with different rhythms
We can ask students to:

§ Walk to the rhythm of crotchets.
§ Run to the rhythm of quavers.
§ Shuffle to the rhythm of minums.

4.9. Songs accompanied by gestures or movements
They are very useful for the rhythmic and motor development of
children, especially the youngest ones.

4.10. Performance of dances
Two options:
1. Experiential
§ When we only experience, i.e. feel the rhythm while dancing.
2. Intellectual
§ When, in addition, we try to rationalise the rhythm we have danced.
§ Students can identify whether it was binary, as in the pavana, or ternary,
as in the gigue.
Pavana example Example of Gigue
http://bit.ly/42xqOft http://bit.ly/3naqeUL

Questions
?
See you later alligator - Bill Haley and Comets
http://bit.ly/3Z6YkGz

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Didactics of Musical Education

Week 3. March 23rd

Andrea González García

Music Education Didactics 4

1. Pulse & Tempo

Music Education Didactics 7

Music Education Didactics 8

1.1. Bar & Measure

Music Education Didactics 9

To understand how we measure rhythm in music we first need to talk about…

Music Education Didactics 10

We will rock you. Queen https://bit.ly/3JAuFzG

Music Education Didactics 11

The Simpsons. Theme song https://bit.ly/3TuSgX0

Music Education Didactics 12

Lux Aeterna. György Ligeti https://bit.ly/3YZZDHb

Music Education Didactics 13

= 60 beats per minute = 1 beat per second

Music Education Didactics 14

Music Education Didactics 15

Numbers Words (usually in Italian)

General idea of the

Music Education Didactics 16

§ Grave: very slow. http://bit.ly/3TB6bLd

§ Largo / Lento: slow. http://bit.ly/3TwAaUN

§ Adagio: slow, but comfortable. http://bit.ly/3naUajH

§ Andante: slow, walking. http://bit.ly/3Z80Yvu

§ Moderato: moderate tempo, neither fast nor slow.

§ Vivace: lively, hurried. http://bit.ly/3Z7HXtn

§ Presto: very fast. https://bit.ly/3FHw6et

Music Education Didactics 17

Music Education Didactics 18

§ Accelerando or Animando (accelerating)

Music Education Didactics 19

Music Education Didactics 20

Each of these groups is a… BAR or MEASURE

Music Education Didactics 21

Music Education Didactics 22

Each pulse can be subdivided in…

Music Education Didactics 23

Or it can be subdivided in…

Music Education Didactics 24

When it is a binary subdivision (2 parts) – if it has 2 beats:

When it is a binary subdivision (2 parts) – if it has 3 beats:

Music Education Didactics 25

When it is a binary subdivision (2 parts) – if it has 4 beats:

Number of beats in a bar.

What kind of beats they are.

Music Education Didactics 26

Music Education Didactics 27

Music Education Didactics 28

2.1. Parts of a note

Music Education Didactics 30

2.1. Parts of a note

Music Education Didactics 31

half note 1/2 minum

quarter note 1/4 crotchet

sixteenth note 1/16 semi-quaver

Music Education Didactics 32

2.2. The System

whole note rest semibreve rest

half note rest minum rest

quarter note rest crotchet rest

eighth note rest quaver rest