Patricia Carter-Zagorski
Feel the Beat: Building' a Strong
Rhythmic Foundation for Musical
Success
By Patricia Carter-Zagorski
m s piano teachers, we strive to instill
a love of making music in our
Students. The inevitable process o f making
m m mistakes along that journey, however, creates
challenges and intriguing mysteries to be solved. “Why did
the mistake happen?” “W hat in the score did the student
not understand?” As I searched for answers, I discovered
that a clearer understanding o f rhythm ic pulse is the most
im portant key to music literacy. Since rhythm ic mistakes
often cause melodic mistakes, these rhythm ic patterns
should be learned first, by themselves, to ensure accuracy
and musical success.
Having a teaching career that has taken me from the United
States to Brazil, Syria, and the cities of Amman, and Irbid,
Jordan, I have discovered the power that the rhythmic pulse
has over the melodic line, especially in the vibrant rhythms of
Brazil and Syria. Through these experiences, I realized that I
could remember a melody infinitely better when associated
with a strong rhythmic pattern. Fortunately, we need not travel
to such locations to understand rhythm’s importance. Students
come to music with an already developed sense of pulse from
activities such as walking, running, dancing, and playing sports.
We are surrounded by rhythm in our everyday lives.
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Clavier Companion
Learning the rhythm first and separately from the melodic
line will prevent mistakes when learning homophonic piano
music. Rhythm is the first and the easiest element to learn
because we have the built-in rhythmic pulse of our heartbeat
that is frequently measured to a second in time or 60 bpm
(beats per minute). Everything in our world begins with
rhythmic movement. We recognize our heartbeat is essential to
our lives, but frequently we do not realize how our movement
is controlled by its rhythmic pulse. In order for music to have
movement, it must have a rhythmic pattern with a steady
pulse. The rhythmic pulse is the unit that also gives continuity
to all music, that is, sound through time. In fact, our whole
planet Earth turns on its axis to a 24-hour rhythmic pulse, and
we track our days to the 24-hour cycle, further subdividing
into 60 minutes per hour and 60 seconds per minute.
There are three steps fo r teaching hom ophonic piano
music. First, teach note values as they relate to the rhythm ic
meter. The m ost efficient way to teach the rhythm o f a
com position is to learn the rhythm ic patterns w itho ut the
melody. Students can connect the pulse to 60 bpm, or a
second of time, and step left, right, left, right to the second
hand o f a clock while clapping the rhythm patterns.
Below you will find a table o f note values that are found
in most piano repertoire. Students will
benefit from stepping to the rhythm of
the quarter notes while clapping the
various rhythm ic patterns of notes longer
than one beat as well as notes that divide
the beat. The Dalcroze m ethod utilizes
various syllables to teach rhythm ic values
and subdivisions. Using com plete words
w ith the accent on the first syllable is a
user-friendly way to utilize the Dalcroze
approach at the piano and instill a solid
rhythm ic foundation.
January February 201!)
 Marked dynamics must be considered first by
TABLE OF N O T E VALUES tapping on a flat surface from your wrist on curved
The q u arter note is equal to a clock’s second in tim e or 60 BPM. fingertips with hands separate, then hands together.
Left Right Left Right This is the correct hand position for various tone
Beat Beat Beat Beat qualities on the keyboard. The descending speed
1 1 1 1
of the tapping fingers determines the volume of
J J J J sound. For example, a fast descent creates forte
Rhythm o f notes that last longer than one beat: sounds and slow descent creates piano sounds.
Left Right Left Right If the key is depressed too slowly, the hammer
Beat Beat Beat Beat won’t touch the string, resulting in no sound.
1 1 1 1 Next is articulation, which is primarily staccato and
legato. When playing staccato, each key is released
J J before playing the next. When playing legato, the
J. J first key is not released before playing the second
o key. Rests must be observed precisely in time.
Follow the pedal marks rhythmically with the toes
of the right foot on the damper pedal and
Rhythm of notes that divide the beat: the heel placed on the floor to balance the
body weight.
Left Right Left Right • Fingering patterns are the final component.
beat - ing beat - ing beat - ing beat - ing Marked fingering patterns can be tapped
1 1 1 1 with hands separate, then together. This
tapping exercise shapes the hand to the
J J J 0 J J J J melodic line, promoting accuracy on the
J " ------- J
piano keyboard.
J

J J J J J J J J J j J J
R asp ber ry A fte r learning the rhythm ic patterns
and applying these four components of
So na ti na
J- J interpretation, the third step of teaching is
to add the melodic and harmonic elements
of the music. Because a solid rhythmic
The most efficient way to learn the various rhythms of foundation has already been set, students are able to
a composition is to tap the rhythms on a flat surface, left give movement and meaning to the melody. This will
hand first, then right hand, then hands together. There are not only ensure a more accurate performance, it will
several advantages to this: also give the student a more enjoyable experience of
• Your ears hear and learn the rhythmic patterns learning keyboard music. A
without relying on the melody.
• Your eyes are always on the score, not the keyboard.
• Eyes learn to read groups of notes on a grand Young B eginners?
staff instead of one note at a time, leading to a L earning D isabilities?
more successful performance each time. Give your beginners a great start
• Repetitions of rhythmic patterns are easy to read by teaching key names,
and encourage reading ahead. fingering, & strong music skills
in a fun simple letter format
• Quick analysis of scale and chord patterns equals
self-teaching, usually without mistakes.
I Can Do It! Piano Book
Explorer’s Guide
• Interpretation is the second step in teaching the Teacher’s Guide
rhythmic pulse. Dynamics, articulations, pedaling, I Can Do It! Duets
and fingering patterns constitute interpretation. www.kapokpress.com
8 6 6 -4 4 5 -2 7 6 5

•January/February 201!) Clavier Companion

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