on 7/10/02 11:14 AM, Andrew Homzy at [EMAIL PROTECTED] wrote: > And that inspires another teaching complaint - why are rhythms taught from > whole notes down to 32 notes? Violinists [Suzuki was so wise] start with > 16th notes in their first lessons and work up to whole notes. Thus, they > internalize sub-divisions subconsciously. But that's another story. > > Cheers, > > Andrew Homzy - Department of Music > Concordia University > Montreal, Quebec > CANADA H4B 1R6
Hi Andrew, I've recently taken on a private theory student and am rediscovering the process of learning to read and understand rhythm through subdividing the beat. My student seems very intimidated by the whole process. I think he would claim the inability to learn to read rhythms (and has basically been allowed to do so in his musical training thus far) if he hadn't finally seen the real need for it. I wasn't aware of any of this coming in and we only meet once a week so it's taken a while to sort out the problem. He has a very fine ear which is way ahead of his rhythmic recognition. Last week I showed him the process of marking subdivisions above a measure to figure out the written rhythm, but the idea of starting out with 16ths and working from shorter to longer note values seems like a great idea and very appropriate for this situation. I've never seen any of the Suzuki method books so can you shed any light on how they handle this? Also, to bring this back into the Finale realm, has anyone used Finale's recognition of a rhythmically complete measure as a tool in learning to read rhythms? Seems like it could help as part of the process. Thanks, Don Hart _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
